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am PN 133 3 
ft* ■' 

OopigM 



COWRiGHT DEPOSIT. 



Ol'O 



Scanned from the collections of 
The Library of Congress 



AUDIO-VISUAL CONSERVATION 
at The LIBRARY i/CONGRL'SS 




Packard Campus 

for Audio Visual Conservation 

www.loc.gov/avconservation 

Motion Picture and Television Reading Room 
www.loc.gov/rr/mopic 

Recorded Sound Reference Center 
www.loc.gov/rr/record 





THE qUALITY MAGAZINE OF THE SCREEN 



FEBRUARY 



MAGAZINE 
25cj_s 








45a 




ie First Fan Magazine Celebrates Its 14th Birthday see Pages 50 



to 66 




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LUBIN 

TZ^ World's Mosl Exclusive Parfumeur 

ONLY fastidious women, women who have been accustomed all their lives 
to the superlative — women who can afford to be exclusive — only such 
fortunate women as these are numbered among the users of Lubin perfumes. 

For since the days of the Empress Josephine, when they first won the accept- 
ance of the Continental aristocracy, Parfums Lubin have retained their charm 
by retaining their exclusiveness. 



For Parfums Lubin are acknowledged the 
finest made in all France. The firm of Lubin 
is one of the rare French houses which manu- 
factures in France only. 
So quite naturally these are the most ex- 
pensive perfumes in the world. For today 
that is the only way they can be kept from 



becoming common. Everyone would like 
to have these scents — only a fortunate few 
may have them. Only in the most exclusive 
shops in America will they be found. A few 
of those specially selected are listed below. 
Or madame may write to us and wewillrefer 
her to one who sells LUBIN. 



NEW YORK CITT 
B. Altman & Co. 
John Wanamaker 
Franklin Simon & Co. 
Lord & Taylor, Inc. 
Saks & Co.. Inc. 
Stern Bros. 
Gimbel Brothers 
P. M. Everts 
Munsch, Protzman Co. 
John E. Thomas 
BROOKLYN, N. Y. 

Abraham & Straus, Inc. 
CHICAGO, ILL. 

Marshall Field & Co. 
J. F. Carnegie, Drake 
Hotel Pharmacy and 
Blackstone Hotel 
Pharmacy 
Atlantic Hotel Pharmacy 
Davis Dry Goods Co. 
PHILADELPHIA, PA. 
Bonwit Teller & Co 
The House of Wenger 
BOSTON. MASS. 

C Crawford Hollidge 
R. H. Stearns Company 
Melvin & Badger 
E. T. Slattery Company 

CLEVELAND, OHIO 

The Halle Bros. Co. 
ST. LOUIS. MO. 

The Famous — Barr Co 
Stix Baer & Fuller Dry 

Goods Co. 
Jefferson Hotel Drug 
Store Co. 
LOS ANGELES. CALIF. 

J. W. Robinson Co. 
KANSAS CITY. MO. 

Emery- Bird-Thayer Dry 

Goods Co. 
Fred Harvey's Union Sta- 
tion Drug Store 
SAN FRANCTSCO. CALIF. 

H. Llebes & Co. 
ALLENTOWN, PA.— H. Leh&Co, 
ASBURY PARK, N. J. 

Steinbach Co. 
ATLANTA. GA. 

Franklin & Cox, Inc. 
BEVERLY HILLS. CALIF. 

Beverly Hills Pharmacy 
BINCHAMTON. N. Y. 

Hills. McLean & Haskins.Inc. 
BIRMINGHAM, ALA. 

Augusta Friedman Shop. Inc. 



BLOOMINGTON, ILL. 

Edw. C. Biasl 
CHARLESTON, W. VA. 

Scott Bros. 
CHATTANOOGA, TENN. 

D. B. Loveman Co. 
CINCINNATI, O. 

The Lawton Co. 
COLUMBIA, S. C. 

Bon Marche 
COLUMBUS. OHIO 

The Morehouse-Martens Co. 
DAVENPORT. IA. 

Carl E. Schlegel Drug 
Stores 
DAYTON, OHIO 

The Rike-Kumler Co. 
DES MOINES. IA. 

Harris-Emery Co. 
FORT SMITH, ARK. 

Boston Store Dry Gds. Co. 
FORT WAYNE, IND. 

Wolf & Dessauer Co. 
FORT WORTH, TEX. 

Schermerhorn Co. 
HARTFORD, CONN. 

Albert Steiger, Inc. 
HOT SPRINGS. ARK. 

Colonial Drug Store 
HUNTINGTON, W. VA. 

Fountain Drug Co. 
JACKSONVILLE, FLA. 

Cohen Brothers 
JOHNSTOWN, PA. 
Purity Drug Co. 
Shaffer-Davis Co. 
JOPLIN, MO. 

The Christman Dry Goods Co. 







>--i" '"''-, 



$? 



" "' '"■«»„/ 
r,- "■■'■ J*Jcc. 



KNOXVILLE, TENN. 

S. H. George and Sons 
LITTLE ROCK. ARK. 

Bruce Ellis 
MACON, GA. — Person's, Inc. 
MINNEAPOLIS, MINN. 
L. S. Donaldson Co. 
MUSKOGEE. OKLA. 

Durnil Dry Goods Co. 
NEWARK. N. J. 

Anchor Drug Co. 
NEW ORLEANS. LA. 

D. H. Holmes Co., Ltd. 
OAKLAND. CALIF. 

H. C. Capvvell Co. 
OKLAHOMA CITY. OKLA. 
Kerr Dry doods Co. 
Roach, the Druggist 
OMAHA, NEB. 

Buigess Nash Company 
PASADENA. CALIF. 
Crown Drug Co. 
PINE BLUFF. ARK. 

Donathan's Drug Store 
PORTLAND, ME. 

Porteous Mitchell & 
Braun Co. 
RICHMOND. VA. 

Miller & Rhoades, Inc. 
ROCK ISLAND. ILL. 

Carl E. Schlegel Drugstores 
SACRAMENTO. CALIF. 

Weinstock,Lubin&Co.,Inc. 
SALT LAKE CITY, UTAH 

Auerbach Company 
SANANTONIO.TEX. — Wolff &MarxCo. 
SAN BERNARDINO. CALIF. 

Central Drug Store 
SAN DIEGO. CALIF. 
The Marston Co 
SANTA ANA. CALIF. 

While Cross Drug Co. 
SANTA BARBARA, CALIF. — Diehls 
SAVANNAH. GA. 

Solomons Company 
SPRINGFIELD, ILL. — A. L. Crawford 
TERRE HAUTE. IND 

Root Dry Goods Co. 
TOLEDO. OHIO 

La Salle and Koch Company 
TOPEKA.KAN*. — The Crosby Bros. Co. 
WICHITA, KAN. — Till'ordDrugCo. 
CORSICANA, TEXAS 

Penland Drug Company, Inc. 




THE CHANDON COMPANY, 509 FIFTH AVENUE, NEW YORK, EXCLUSIVE DISTRIBUTORS FOR THE UNITED STATE] 



DEC 31 1924" 



C1B647520 



A BREWSTER PUBLICATION 



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Tonight's a 
Paramount Night! 

The Movies and Radio are the en- 
tertainment twins. 

One gets you Music and Wis- 
dom from afar, and the other brings 
Romance and Adventure to your 
gaze. 

You can always get DX with 
Paramount, the distance that is 
caught by the heart-strings, not the 
ear-drum. 

Famous Players-Lasky Corpora' 
tion welcomes the radio because it 
deepens your zest for first-class en- 
tertainment, and that same longing 
says Paramount, always " the best 
.how in town!" 



Cpa ramoMb 










32 



Jtl^&'.SJr. 



PRODUCED BY 

IBvmousPuyers-LaskyCorr 1 
1 adolph zukor-presioent 



paramount Wktwvs 



10 Current Paramount Pictures 



Produced by Famous Players'Lasky Corporation 



Adolph Zukor and Jesse Lasky present 

"THE GOLDEN BED" 

A CECIL B. DE MILLE 

PRODUCTION 

Screen Play by Jeanie Macpherson. With Rod La 
Rocque, Vera Reynolds, Lillian Rich, Warner 
Baxter, Theodore Kosloff and Julia Faye. From 
the book entitled "The Golden Bed" by Wallace 
Irwin. 

J. M. Barrie's 

"PETER PAN" 

A HERBERT BRENON PRODUCTION 

Assisted by Roy Pomeroy. From the immortal 
story and play. Screen play by Willis Goldbeck. 



"TONGUES OF FLAME" 

STARRING THOMAS MEIGHAN 

A JOSEPH HENABERY PRODUCTION 
From the story by Peter Clark Macfarlane. 
Screen play by Townsend Martin. 



"NORTH OF 36" 

AN IRV1N WILLAT PRODUCTION 
With Jack Holt, Lois Wilson, Ernest Torrence, 
Noah Beery. From the story by Emerson Hough. 



"FORBIDDEN PARADISE" 
STARRING POLA NEGRI 

AN ERNEST LUBITSCH PRODUCTION 
With Rod La Rocque, Adolphe Menjou, Pauline 
Starke. From "The Czarina" by Biro and 
Lengyel. Screen play by Agnes Christine Johns- 
ton and Hans Kraly. 



"MANHATTAN" 

Starring RICHARD DIX 

Based on " The Definite Object " by Jeffery Farnol. 
Directed by R. H. Burnside. 



"ARGENTINE LOVE" 

AN ALLAN DWAN PRODUCTION 

With BEBE DANIELS, Ricardo Cortez. From 
the novel of the same name by Vicente Blasco 
Ibanez. 



Rex Beach's 

"A SAINTED DEVIL" 

STARRING 

RUDOLPH VALENTINO 

A JOSEPH HENABERY PRODUCTION 

Adapted by Forrest Halsey. From the Rex Beach 
novel "Rope's End". 



"MERTON OF THE MOVIES" 

A JAMES CRUZE PRODUCTION 
Starring GLENN HUNTER. With Viola Dana. 
From Harry Leon Wilson's novel and the play 
by Kaufman and Connelly. Screen play by 
Walter Woods. 



"LOCKED DOORS" 

A WM. de MILLE PRODUCTION 
WithBe tty Compson , Theodore Roberts, Kathlyn 
Williams.Theodore Von Eltz and Robert Edeson. 
Screen play by Clara Beranger. 



Every advertisement in MOTION PICTURE MAGAZINE is guaranteed". 



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LUBIN 

The World's Mosl Exclusive Parfumeur 

ONLY fastidious women, women who have been accustomed all their lives 
to the superlative — women who can afford to be exclusive — only such 
fortunate women as these are numbered among the users of Lubin perfumes. 

For since the days of the Empress Josephine, when they first won the accept- 
ance of the Continental aristocracy, Parfums Lubin have retained their charm 
by retaining their exclusiveness. 



For Parfums Lubin are acknowledged the 
finest made in all France. The firm of Lubin 
is one of the rare French houses which manu- 
factures in France only. 

So quite naturally these are the most ex- 
pensive perfumes in the world. For today 
that is the only way they can be kept from 



becoming common. Everyone would like 
to have these scents — only a fortunate few 
may have them. Only in the most exclusive 
shops in America will they be found. A few 
of those specially selected are listed below. 
Ormadamemaywriteto us and we will refer 
her to one who sells LUBIN. 



NEW YORK CITY 
B. Altman & Co. 
John Wanamaker 
Franklin Simon & Co. 
Lord & Taylor, Inc. 
Saks & Co.. Inc. 
Stern Bros. 
Gimbel Brothers 
P. M. Everts 
Munseh, Protzman Co. 
John E. Thomas 
BROOKLYN, N. Y. 

Abraham & Straus, Inc. 
CHICAGO, ILL. 

Marshall Field & Co. 
J. F. Carnegie, Drake 
Hotel Pharmacy and 
Blackstone Hotel 
Pharmacy 
Atlantic Hotel Pharmacy 
Davis Dry Goods Co. 
PHILADELPHIA, PA. 
Bonwit Teller & Co 
The House of Wenger 

BOSTON. MASS. 

C. Crawford Hollidge 
R. H. Stearns Company 
Melvin & Badger 
E. T. Slattery Company 

CLEVELAND, OHIO 

The Halle Bros. Co. 
ST. LOUIS. MO. 

The Famous — Barr Co 
Stix Baer & Fuller Dry 

Goods Co. 
Jefferson Hotel Drug 
Store Co. 
LOS ANGELES, CALIF. 

J. W. Robinson Co. 
KANSAS CITY. MO. 

Emery-Bird-Thayer Dry 

Goods Co. 
Fred Harvey's Union Sta- 
tion Drug Store 
SAN FRANCISCO. CALIF. 

H. I.iebes & Co. 
ALLENTOWN, PA.— H. Leh &Co 
ASBURY PARK, N. J. 

Steinbach Co. 
ATLANTA, GA. 

Franklin & Cox, Inc. 
BEVERLY HILLS, CALIF. 

Beverly Hills Pharmacy 
BINGHAMTON. N. Y. 

Hills.McLean&Haskins.Inc. 
BIRMINGHAM. ALA. 

Augusta Friedman Shop. Inc. 



BLOOMINGTON, ILL. 

Edw. C. Biasi 
CHARLESTON. W. VA. 

Scott Bros. 
CHATTANOOGA, TENN. 

D. B. Loveman Co. 
CINCINNATI, O. 

The Lawton Co. 
COLUMBIA, S. C. 

Bon Marche 
COLUMBUS. OHIO 

The Morehouse-Martens Co. 
DAVENPORT, IA. 

Carl E. Schlegel Drug 
Scores 
DAYTON. OHIO 

The Rike-Kumler Co. 
DES MOINES. IA. 

Harris-Emery Co. 
FORT SMITH, ARK. 

Boston Store Dry Gds. Co. 
FORT WAYNE. IND. 

Wolf & Dessauer Co. 
FORT WORTH. TEX. 

Schermerhorn Co. 
HARTFORD, CONN. 

Albert Steiger, Inc. 
HOT SPRINGS. ARK. 

Colonial Drug Store 
HUNTINGTON, W. VA. 

Fountain Drug Co. 
JACKSONVILLE, FLA. 

Cohen Brothers 
JOHNSTOWN, PA. 

Purity Drug Co. 

Shaffer-Davis Co. 
JOPLIN, MO. 

The Christman Dry Goods Co. 



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KNOXVILLE. TENN. 

S. H. George and Sons 
LITTLE ROCK. ARK. 

Bruce Ellis 
MACON, GA. — Person's, Inc. 
MINNEAPOLIS, MINN. 
L. S. Donaldson Co. 
MUSKOGEE. OKLA. 

Durnil Dry Goods Co. 
NEWARK, N. J. 

Anchor Drug Co. 
NEW ORLEANS, LA. 

D. H. Holmes Co., Ltd. 
OAKLAND. CALIF. 

H. C. Capwell Co. 
OKLAHOMA CITY. OKLA. 
Kerr Dry Goods Co. 
Roach, the Druggist 
OMAHA, NEB. 

Bui gess Nash Company 
PASADENA. CALIF. 
Crown Drug Co. 
PINE BLUFF, ARK. 

Donathun's Drug Store 
PORTLAND, ME. 

Porteous Mitchell & 
Braun Co. 
RICHMOND. VA. 

Miller & Rhoades, Inc. 
ROCK ISLAND. ILL. 

Carl E. Schlegel Drugstores 
SACRAMENTO. CALIF. 

Weinstock.Lubin & Co., Inc. 
SALT LAKE CITY, UTAH 

Auerbueh Company 
SANANTONIO.TEX. — Wolff &MarxCo. 
SAN BERNARDINO. CALIF. 

Central Drug Store 
SAN DIEGO. CALIF. 
The Marston Co 
SANTA ANA. CALIF. 

White Cross Drug Co. 
SANTA BARBARA, CALIF. — Diehls 
SAVANNAH. GA. 

Solomons Company 
SPRINGFIELD. ILL. — A. L. Crawford 
TERRE HAUTE. IND. 

Root Dry Hoods Co. 
TOLEDO. OHIO 

La Salle anil Koch Company 
TOPEKA.KAN. — The Crosby Bros. Co. 
WICHITA, KAN — Tilford DrugCo. 
CORSICANA, TEXAS 

Penland Drug Company, Inc. 



m®\m 



\3$S± 



$ 



THE CHANDON COMPANY, 509 FIFTH AVENUE, NEW YORK, EXCLUSIVE DISTRIBUTORS FOR THE UNITED STATI 



DEC 31 1924'" 



CJB6475 



20 



OTIONPICTURn 

MAGAZINE f\ 



_ A BREWSTER PUBLICATION 

You can arwayj-gww ^ , 




Tonight's a 
Paramount Night! 

The Movies and Radio are the en- 
tertainment twins. 

One gets you Music and Wis- 
dom from afar, and the other brings 
Romance and Adventure to your 
gaze. 

You can always get DX with 
Paramount, the distance that is 
caught by the heart-strings, not the 
ear-drum. 

Famous Players-Lasky Corpora' 
tion welcomes the radio because it 
deepens your zest for first-class en- 
tertainment, and that same longing 
says Paramount, always " the best 
.how in town!" 





Cpa /nmount 



wSSM 



km^ 



PRODUCED BY 

Famous Players-Lasky Corp I 

ADOLPH ZUKOR-PRESIOENT 



paramount ffictiuvs 



10 Current Paramount Pictures 



Produced by Famous PlayerS'Lasky Corporation 



Adolph Zultor and Jesse Lasky present 

"THE GOLDEN BED" 

A CECIL B. DE MILLE 

PRODUCTION 

Screen Play by Jeanie Macpherson. With Rod La 
Rocque, Vera Reynolds, Lillian Rich, Warner 
Baxter, Theodore Kosloffand Julia Faye. From 
the book entitled "The Golden Bed" by Wallace 
Irwin. 

J. M. Barrie's 

"PETER PAN" 

A HERBERT BRENON PRODUCTION 

Assisted by Roy Pomeroy. From the immortal 
story and play. Screen play by Willis Goldbeck. 



"TONGUES OF FLAME" 

STARRING THOMAS MEIGHAN 

A JOSEPH HENABERY PRODUCTION 
From the story by Peter Clark Macfarlane. 
Screen play by Townsend Martin. 



"NORTH OF 36" 

AN IRVIN WILLAT PRODUCTION 
With Jack Holt, Lois Wilson, Ernest Torrence, 
Noah Beery. From the story by Emerson Hough. 



"FORBIDDEN PARADISE" 
STARRING POLA NEGRI 

AN ERNEST LUBITSCH PRODUCTION 
With Rod La Rocque, Adolphe Me njou, Pauline 
Starke. From "The Czarina" by Biro and 
Lengyel. Screen play by Agnes Christine Johns- 
ton and Hans Kraly. 



"MANHATTAN" 

Starring RICHARD DIX 

Based on "The Definite Object" by JefferyFamol. 
Directed by R. H. Burnside. 



"ARGENTINE LOVE" 

AN ALLAN DWAN PRODUCTION 
With BEBE DANIELS, Ricardo Cortez. From 
the novel of the same name by Vicente Blasco 
Ibanez. 



Rex Beach's 

"A SAINTED DEVIL" 

STARRING 

RUDOLPH VALENTINO 

A JOSEPH HENABERY PRODUCTION 

Adapted by Forrest Halsey. From the Rex Beach 
novel "Rope's End". 



"MERTON OF THE MOVIES" 

A JAMES CRUZE PRODUCTION 
Starring GLENN HUNTER. With Viola Dana. 
From Harry Leon Wilson's novel and the play 
by Kaufman and Connelly. Screen play by 
Walter Woods. 



"LOCKED DOORS" 

A WM. de MILLE PRODUCTION 

WithBettyCompson, Theodore Roberts, Kathlyn 
Williams, Theodore VonEltz andRobertEdeson. 
Screen play by Clara Beranger. 



Every advertisement in MOTION PICTURE MAGAZINE is guaranteed. 



"* 
* 



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y ew 

.Tl- 

T. 



7 B 

usll 



PA/Sli 










This superb HO-piece set, with initial in 2 
places on every piece, decorated in blue and 
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12 Dinner Plates, 9 inches 12 Saucers 

12 Breakfast Plates, 7 in. 

12 SoupPlat.es, 73£ inches 

12 Cereal Dishes ,6 inches 

12 Fruit Dishes, 6J£ in. 

12 Caps 



1 Small Deep Bowl, Bin 

1 Sauce Boat, 7X inchej 
1 Creamer 

1 Sugar Bowl with covej 
(2 pieces) 



No C. O. D.— Nothing to Pay for Dishes on Arrival 15 

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110 -Piece Colonial Initialed 
Blue and Gold Decorated 



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Hartman guarantees that every 
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tor 3 years. Each piece wrapped in 
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prevent breakage. Shipped at once 




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Most complete book of its kind ever 

issued. Hundreds of pages, manv in 

P»rn»L C °',? rS ' ° f - the T >rl S 1 ' a B^atest bargains in Furniture, rVs 
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•• Full Size, 7-Piece 
£°, r . ce, 3 ,n -, Set for Fi «h or Game 

This beautiful 7-piece set of handsome, durabte 
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We will ship the Dinner Set complete, 
and with it the 7-piece Porcelain Fish 
and Game Set absolutely FREE. Use 
both sets 30 days on Free Trial. See 
these beautiful dishes on your table 
show them to friends, use them -then 
make your decision. If not satisfied, 
send them back and we will pay trans- 
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keep them, pay only for the 110-piece 
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nothing at any time for the 7-piece 
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llO-Piece Dinner Set. 

Our Bargain Price, $33.85. 

No Money Down. $4.00 Monthly. 

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FURNITURE & CARPET CO.' I 

Dept, 7050 Copyright, 1925. by pUirtrr) ' 

>»!TJ..u _ Hartman's. Chicauo tHICAGO ■ 

i-argest Homo Furnishing Concern In the World I Town. 



llO-Piece Dinner Set 
No. 320GMA27. Price $33.85, 

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When you write to advertisers please mention MOTION PICTURE MAGAZINE. 



DECV||Q24' CIB64793l) 

s A BREWSTER PUBLICATION 



Motion Picture Magazine 

Founded by J. Stuart Blackton in 1910 — Trademark Registered 

FEBRUARY, 1925 

Vol. XXIX Number 1 

(A Complete Table of Contents will be found on page 9) 



WE WANT WHAT WE WANT-SO THERE 

SEVERAL foreign directors and a few of the native-born are wasting considerable talent in an 
effort to sophisticate the American motion-picture public. Of which we are a part. 
They feel that the movie public is unfortunate in its taste ; that a demand for happy end- 
ings and pure heroines is a sort of malady that can be overcome by patient and persistent effort. 

The Swedes think that we ought to like gloomy endings, where everybody jumps in the lake 
except the heroine's illegitimate daughter : and she starves to death. 

The Russians think that our failure to cry for tales of black despair is an infirmity ; while the 
Austrians and the Germans are politely incredulous that any audience could bother about a story 
wherein everybody loves the wife of his bosom; and the true lovers are happy forever afterward. 
"Very sweet and domestic." they say, "but wherein is the drama?" 

All of these gentlemen of genius are laying the seed for many future heartaches. As the old 
Arkansas farmer said. "It caint be did." 

The good horse sense of the situation is this : when baking pies to sell in a bakery, pick out 
the kind of pie that the largest number of people like. 

By its very nature, the motion-picture industry is bound by a law of general averages. The 
movies have, by very long odds, the most enormous audience that ever witnessed any form of enter- 
tainment since the world began. 

Remember this: that no one book, with the possible exception of the Bible, was ever read by 
as many people as go to the movies every night. It must inevitably be the aim of the producer to 
find the artistic area which is common ground for all these people. This is especially true as regards 
moral standards and ethical vantage-points. 

From these accepted standards as a base, they can soar on to whatever artistic flights they wish. 

But unless — or until — the American public changes materially, it is hopeless to ask it to accept 
cynicism or sophistication. 

Charlie Chaplin's A Woman of Paris, and Ernst Lubitsch's The Marriage Circle were two of 
the most superbly artistic pictures ever made. Yet they have been only moderately successful. This 
on account of the sentiments expressed and cynical view-point. 

The public will stand for and patronize bathing-girl comedies, and even google at much that is 
risque in flapper drama; but the moral must emerge triumphant at the end. Virtue must end the 
tale, with its foot upon the dragon's neck. 

Perhaps we are still primitive and crude and Puritanic— even Babbittical. But anyhow, "that's 
the way we are, Mabel." If you are going to sell us dramas, that's the kind of dramas we are going 
to buy. 

The foreign director seeking our national pube would do better to consult Harold Bell Wright 
and Gene Stratton Porter and other admitted traffickers in naivete, rather than the young sophisti- 
cates who represent a superior few — who do not go much to the movies. 



F. M. Osborne, Editor 
Harry Carr, Western Editorial Representative A. M. Hopfmuller, Art Director 



Published Monthly by the Brewster Publications, Inc., at 18410 Jamaica Ave., Jamaica, N. Y. 

Entered at the Post Office at Jamaica, N. Y., as second-class matter, under the act of March 3rd. 1879. Printed in the V. S. A. 

EXECUTIVE and EDITORIAL OFFICES, 175 Duffield Street, Brooklyn, N. Y. 

Eugene V. Brewster, President and Editor-in-Chief; Duncan A. Dobie, Jr., Vice-President and Business Manager; George J. Tresham, Circulation Director; 
E. M. Heinemann, Secretary: L. G. Conlon, Treasurer. Also publishers of BEAUTY, out on the fifteenth of each month; the CLASSIC, out on the tweUtn; e 
MOVrE THRILLERS, out on the fifteenth. MOTION PICTURE MAGAZINE is issued on the first of the month preceding its date. * 



Subscription $2.50 a year in advance, including postage in the United States, Cuba, Mexico and Philippines; in Canada, $3.00. Foreign countries, $3.50. Single __ 
copies, 25 cents, postage prepaid. U. S. Government stamps accepted. Subscribers must notify us at once of any change of address, giving both old and new address. 

Copyright, 1924. in United States and Great Britain by Brewster Publications, Inc. 

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|OTION PICTURE 
MAGAZINE L 



Advertising Section 



Only Elinor Qlyn Would Dare 

to Write a Book Like This! 



Elinor Glyn, author of "Three Weeks," has written a sensa- 
tional novel called "The Price of Things." This book will 
amaze all America ! Thousands of people will say it is not fit 
to be read. Small-minded critics will claim that Elinor Glyn 
should not have dared touch such a breath-taking subject — 
that she has handled a delicate topic with too much frankness. 
But we want you to read the book before passing an opinion. 
This you can do at our risk— without advancing a penny! 



"The Price of Things" is 
one of the most daring 
books ever written — ! 

"The Price of Things" is 
one of the most sensational 
books ever written — ! 

"The Price of Things" will 
be one of the most fiercely 
criticized books ever writ- 
ten—! 



Warning ! 



BUT — we don't ask you to 
take our word for all this. 
Simply send us your name and we'll send 
you the book. Go over it to your heart's 
content — read it from cover to cover — let 
it thrill you as you have never been thrilled 
before— then, if you don't say it is every- 
thing we claim — and a lot more! — simply 
mail it back and it won't cost you a penny. 
Isn't that fair? 

YOU'VE heard of Elinor Glyn- — every- 
one has. She is unquestionably the 
most audacious author in the world. Her 
last great success, "The Philosophy of 
Love," was said to be the most daring book 
ever written. Her sensational novel, 
"Three Weeks," shocked the whole world 
a few years ago. But "The Price of Things" 
is far more daring than "The Philosophy 
of Love" and much more sensational than 
"Three Weeks." Need more be said? 

After you have read "The Price of Things" 
you will understand why Elinor Glyn is 
called the most daring writer in the world. 
You will see that she is the only great living 
author who dares reveal the naked truth 
about love and passion — in defiance of silly 
convention and false hypocrisy. Madame 
Glyn never minces words — she always calls 
a spade a spade — she doesn't care a snap 
of her fingers what hypocritical people 
think. And it is just this admirable quality 
in her writing — this fearless frankness, utter 
candor, and resolute daring — which makes 
her the most popular writer of today! 

An Uncensored Story 
of Love and Passion 

THE books of most French and English 
novelists are "toned down" when pub- 
lished in America. Not so with "The Price 
of Things." This book comes to you ex- 
actly in the form in which Elinor Glyn first 
wrote it — nothing has been taken out — the 
book has not been censored — everything is 
there! 

Here is a book that will open your eyes! 
Each succeeding chapter grows more daring. 
From the Magic Pen of Elinor Glyn flows a 
throbbing tale of audacious characters 
startling incidents, sensational situations, 

6 



"The Price of Things" 
is not a bed-time story 
for children. And the 
publishers positively do 
not care to have the book 
read by anyone under 
eighteen years of age. So 
unless you are over eight- 
een, please do not fill 
out the coupon below. 



daring scenes, thrill after thrill! 
Oh! what an amazing story it 
is — the like of which you never 
dreamed of! 



W thro 
[(TV star! 

r 6 

LAGC. 



So realistic is the charm, the 
fire, and the passion of this 
fiercely-sweet romance, that 
the hot breath of the hero 
seems to fan your face. Your 
blood races madly at the un- 
conditional surrender of the 
delicious heroine. You feel her 
soft arms about your neck. 

You kiss her madly and seem to draw her 

very soul through her lips! 

And then comes the big scene! Midnight 
has struck — and the heroine, sleeping peace- 
fully, dreams of her husband The 

door squeaks! . . . Breathless silence! . . . 
Then "Sweetheart," a voice whispers in 
the darkness. . . . "Oh, dearest," she mur- 
murs, as but half awakened, she feels her- 
self being drawn into a pair of strong 
arms. . . . "Oh,— you know I — ." 



But we must not tell you any more- 
spoil the story. 



-it will 



This Book Will Shock 
Some People! 

NARROW-MFNDED people will be 
shocked at "The Price of Things!" 
They will say it ought to be suppressed— 
that it is not fit to be read. But this is 
not true. It is true that Madame Glyn 
handles a delicate topic with amazing frank- 
ness, and allows herself almost unlimited 
freedom in writing this burning story of love 
and passion. Still the story is so skillfully 
written that it can safely be read by any 
grown-up man or woman who is not afraid 
of the truth. Furthermore, Madame Glyn 
does not care what small-minded people say. 
And she doesn't write to please men and 
women with childish ideas and prudish sen- 
timents. She always calls things by their 
right names — whatever phase of life she 
writes of, she reveals the naked truth. And 
in "The Price of Things" she writes with 
amazing candor and frank daring of the 
things she knows best- — the greatest things 
in life — Love and Passion! 

SEND NO MONEY 

YOU need not advance a single penny 
for "The Price of Things." Simply fill 
out the coupon below — or write a letter — 
and the book will be sent to you on ap- 
proval. When the postman delivers the 
book to your door — when it is actually in 
your hands — pay him only $1.97, plus a 




JLnAmnringBoohf 




(DMtro 



most 

sensational 

novel eveti 

written 







few pennies postage, and the book is yours. 
Go over it to your heart's content — read it 
from cover to cover — and if you are not 
more than pleased, simply mail the book 
back in good condition within five days and 
your $1.97 will be refunded gladly. 

Elinor Glyn's books sell like magic — by the 
million! "The Price of Things," being the 
most sensational book she has ever written 
— and that's saying a lot! — will be in greater 
demand than all others. Everybody will 
talk about it — everybody will buy it. So 
it will be exceedingly difficult to keep the 
book in print. We know this from experi- 
ence. It is possible that the present edi- 
tion may be exhausted, and you may be 
compelled to wait for your copy, unless you 
mail the coupon below AT ONCE. We do 
not say this to hurry you — it is the truth. 

Get your pencil — fill out the coupon NOW. 
Mail it to The Authors' Press, Auburn, 
N. Y., before it is too late. Then be pre- 
pared to read the most sensational novel 
ever written! 



The Authors' Press, Dept. 525, Auburn, N. Y. 

Send me on approval Elinor Glyn's sensational novel, 
The Price of Things." When the postman delivers 
the book to my door, I will pay him only SI. 97. plus 
a few pennies postage. If the book is not satisfactory, 
I may return it any time within five days after it is 
received, and you agree to refund my money. 



De Luxe Leather Edition— We hare prepared a Limited Edi- 
tion, handsomely bound in Royal Purple Genuine Leather and 
lettered in Gold, with Gold Tops and Purple Silk Markers. No 
expense spared—makee a gorgeous gift. If you prefer this 

leather edition- -as most people do— simply sign beiow. . . 

place a cross in the little square at the right, and pay \ 
the postman only $2.97 plus postage. L_J 



Name. 



City and State 

IMPORTANT— If it is possible that ou may not be at home 
when the postman calls, send cash in advance. Also if you re- 
Bide outside the U.S.A., payment must be made in advance. 
Regular Edition, S2.I1. Leather Edition, $3.11. Cash with 
coupon. 



Every advertisement in MOTION PICTURE MAGAZINE is guaranteed. 



Advertising Section 



,,-jOTlON PICTUR 

101 I MAGAZINE 



Amazing New MethodjJrings 
Skin Beauty 
OVERNIGHT/ 



Free book describes in full and tells how to 
apply Susanna Cocroft's New Discovery — 
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ican women 
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NEW 



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Bring Out Your 
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You've seen actresses 
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Susanna Cocroft 
Famous Health Authority 

For years Susanna Cocroft 
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great movement for the physi- 
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women. She has been recognized 
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authority on women's health 
problems. She has written two 
bulletins for the U. S. Bureau of 
Education, and her helpful 
writings have many times ap- 
peared in magazines. Through 
her books, courses and treat- 
ments she has personally helped 
over 110.000 women. Often 
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pearance, she made a thorough 
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Look Years Younger 

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For Susanna 
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Wonderful Change 
The First Night 

It works so rapidly that 
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one has a distinctive at- 
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Learn This 
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You know every fresh, healthy clear skin 
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ft T/ >c 



ADDRESS 

CITY STATE. 

When you write to advertisers please mention MOTION PICTURE MAGAZINE. 



Thompson Barlow Co., Inc. 

Dept. F-152, 404 Fourth Ave., N.Y. 

Without any obligation on my part send me the 
free book which explains Susanna Cocroft's new 
method whereby I may obtain an astonishing im- 
provement in my complexion almost OVERNIGHT. 



NAME. 



I 



Send For This FREE Book Today 

This amazing method is disclosed in an 
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Thompson Barlow 
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Dept. F-152 
404 Fourth Ave., N.Y. 



S 



7 

PAG 



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/1CM°™n picturp 

Unt'l I MAGAZINE I- 



Advertising Section 




'8 



Mellin's Food 



The use of the Mellin's Food Method of 
Milk Modification will enable your little 
one to have the healthy and robust appear- 
ance so typical of all Mellin's Food babies. 

We will be pleased to send you our book, ff The Care 

and Feeding of Infants/' also a Free 

Trial Bottle of Mellin's Food. 

Mellin's Food Co., 177 State St., Boston, Mass. 

Every advertisement in MOTION PICTURE MAGAZINE is guaranteed. 




A scene from Vitagraph's The Haunted Hotel. This was made in 1907, and was the very first picture to use "trick stuff" 

With this issue, TWotion Picture jWagazine celebrates its fourteenth birthday. We have in- 
cluded a special anniversary section covering pages 50 to 67, an illustrated article on pages 20-21, 
and many reproductions or interesting and valuable old pictures besides 



Portraits and Picture Pages 



Betty Blythe — A painting by M. Paddock, from a portrait, by Edwin Boner Hesser 

Our Portrait Gallery — New studies of Madge Bellamy, Betty Compson, Ramon Novarro, Frances Howard, 

Lois Wilson, George O'Brien, Alice Joyce, Norma Talmadge, and Buster Keaton 

The Valentinos — An exclusive study of Mr. and Mrs. Valentino and Rudolph's brother 

Love's Old Sweet Song — Doris Ken yon and Ronald Colman in a scene from their new picture 

His Highness, Adolphe Menjou, Impersonating an Arrogant Prince — a sketch by Eldon Kelley 

The Boy Who Never Grew Up — Three scenes from the film version of Sir James Barrie's Peter Pan 

The Laundress Who Loved an Emperor — Studies of the principal characters in Madame Sans-Gene 

We Present Kenneth Harlan and Marie Prevost, Hollywood's Newest Newlyweds 

We'd Like to See Them Again — Portraits of stars who left the screen at the height of their career. . 

Presenting the Queen of the Motion Picture Serial — Studies, new and old, of Pearl White 

Scenes from Our Mary's Very First Pictures — Selected from the file made by the old Biograph Company. . 

Reproductions from Old Motion Pictures — Here you see again your favorites of the Early Days 

A Few Scenes from Some of the Popular Comedies That Brought Down the House a Few Years Ago. . 

Famous Directors Who Were Once Popular Stars — Dramatized bits from old features 

An Original Picture with an Original Director — All about Josef von Sternberg and The Salvation Hunters . 
Colleen Moore — Her remarkable impersonation of Selina Peake De Jong, in her new starring vehicle, So Big. . 

Feature Articles 

Stories About the Old Times, Told by the Old-Timers — A wonderful collection of anecdotes 

Confidences Off-Screen — Chats with Frances Howard, Conway Tearle, and others. . . .by IF. Adolphe Roberts 

Irish — and in Love — The story of Pat O'Malley's screen debut by Harry Carr 

Betty Was a College Widow — Harry Carr discloses a wonderful chapter in the life of the girl on our cover. . . . 
What I Can Read in the Faces of the Film Stars — An analysis of Mary Hay, Richard Barthelmess, Bebe 

Daniels and Harold Lloyd by F. Vance de Revere 

Shots from the First Fan Magazine — Reprinting prophecies made in the first numbers of this magazine 

The Story of My Life — Covering twelve years of motion picture work by Ruth Roland 

The Movies Are Growing Ur> — Comparisons between the old and the new by /. Stuart Blackton 

"Close-Ups of Cut-Backs"- — John Bunny's partner talks about their first comedies by Flora Finch 

For Light Entertainment 

New Year's Resolutions That the Stars Will Try to Keep in 1925 — Four pages of good intentions. . . . 

Romola — The beautiful story of Lillian Gish's new picture, made in Italy by Dorothy Donnell Calhoun 

Whose Hand? — The second instalment of our exciting mystery story by W. Adolphe Roberts 

"Them Good Old Days"- — -When the magazine was a mere infant by Tlie Answer Man 

That's Out — Keen Comment about the people and affairs of Movieland by Tamar Lane 



Departments 



We Want What We Want— So There!— An Editorial 

The Winners of the Month — The four best pictures recently released Reviewed by Laurence Reid 

Reeling with Laughter — A number of amusing scenes from current comedies 

On the Camera Coast — News about stars and studios on the Pacific Coast by Harry Carr 

Trailing the Eastern Stars — News about stars and studios in the East by Dorothy Herzog 

Critical Paragraphs About New Productions Reviews by the Editorial Staff 

We're Asking You — A Question-Box for Our Readers Conducted by the Editorial Staff 

Letters to the Editor — A department containing prize- winning letters from readers, and excerpts from letters. . 

The Answer Man — Brief replies to readers who have asked for information about stars and studios 

What the Stars Are Doing — Information about screen players Conducted by Gertrude Driscoll 



Cover 

11-19 

22 
23 
26 
38 
39 
42 
SO 
56 
59 
60-61 
64-65 
66 
70 
73 



20-21 

24-25 

27 

28-29 

40-41 
51 

52-53 
54-55 
57-58 



30-33 
34-37 
43-45 
62-63 
67 



5 

46-47 

48-49 

68-69 

71-72 

74-75 

76 

78 

80 

82 



9 
PAG 



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Advertising Section 



AFTER, THIRTY ~ can a woman still gain 

the charm of A skin you Love to Touch T 



^gpqp^OME women 
Cj£)L^ Q$2 have a better 



\*-fc complexion at 

*&&* thirtyorthirty- 

rive than they 

ever had in their twenties. 

The reason is simply that 
they have learned to take 
better care of their skin. 

At twenty, contrary to 
popular tradition, a girl's 
complexion is often at its 
worst. 

Too many sweets — late 
hours — and above all, neg- 
lect of a few simple rules of 
skin hygiene, result in a 
dull, sallow color, disfigur- 
ing blemishes, and ugly 
little blackheads. 




h 



By giving your skin the 
right care you can often gain a love- 
lier skin at thirty than you ever had 
before. 

Remember that each day your skin 
is changing; old skin dies and new 
takes its place. Whatever your com- 
plexion has been in the past — by be- 
ginning, now, to give this new skin 
the treatment it needs, you can 
gradually build up a fresh, clear, 
radiant complexion. 

Use this treatment 

to overcome blackheads 

Every night before retiring apply hot 
cloths to your face until the skin is 
reddened. Then with a rough wash- 
cloth work up a heavy lather of 
Woodbury's Facial Soap and rub it 
into the pores thoroughly, always 
with an upward and outward motion. 
Rinse with clear hot water, then with 
cold. If possible, rub your face for 
thirty seconds with a piece of ice. 

How you can free 

your skin from blemishes 

Just before you go to bed, wash in 
your usual way with warm water and 
Woodbury's Facial Soap, finishing 
with a dash of cold water. Then dip 

Copyright, 1024, by The Andrew Jergens Co. 

10 



Often the best of life doesn't begin for a woman until she is thirty. 
Often it is only then that she begins to realize herself and her own 
possibilities. Dont think of your age, whatever it is, as a limitation 
— think of it as an opportunity ! Use the knowledge you have gained 
from life to overcome past faults and disadvantages. Make up your 
mind to be lovelier every year — and you will be! 



the tips of your fingers in warm water 
and rub them on the cake of Wood- 
bury's until they are covered with a 
heavy, cream-like lather. Cover each 
blemish with a thick coat of this and 
leave it on for ten minutes; then 
rinse very carefully, first with clear 
hot water, then with cold. 

A special treatment for an oily skin 

First, cleanse your skin by washing 
in your usual way with Woodbury's 
Facial Soap and luke-warm water. 
Wipe off the surplus moisture, but 
leave the skin slightly damp. Now, 
with warm water work up a heavy 
lather of Woodbury's Facial Soap in 
your hands. Apply it to your face 
and rub it into the pores thoroughly 
— always with an upward and out- 
ward motion. Rinse with warm water, 
then with cold — the colder the better. 
If possible, rub your face for thirty 
seconds with a piece of ice. 

How to give 

a sallow skin color and life 

Once or twice a week, just before re- 
tiring, fill your basin full of hot water 
— almost boiling hot. Bend over the 
top of the basin and cover your head 
and the bowl with a heavy bath 



towel, so that no steam 
can escape. Steam your 
face for thirty seconds. 
Now lather a hot cloth 
with Woodbury's Facial 
Soap. With this wash your 
face thoroughly, rubbing 
the lather well into the 
skin with an upward and 
outward motion. Then 
rinse the skin well, first 
with warm water, then 
with cold, and finish by 
rubbing it for thirty sec- 
onds with a piece of ice. 



No matter what your type 
of skin happens to be — you 
will find the treatment that 
exactly meets its needs in 
the booklet of famous skin 
treatments, "A Skin You 
Love to Touch," which is 

wrapped around every cake of 

Woodbury's Facial Soap. 

Get a cake of Woodbury's today 
and begin your treatment tonight. 
You can get Woodbury's Facial 
Soap at any drug store or toilet goods 
counter. A 25-cent cake lasts a 
month or six weeks for regular use, 
including any of the special Wood- 
bury treatments. For convenience — 
get Woodbury's in 3-cake boxes. 

Three Woodbury skin preparations 
— guest size — for 10 cents 



w 



m 



The Andrew Jergens Co., 

1302 Spring Grove Ave., Cincinnati, Ohio 
For the enclosed 10 cents — Please send me a 
miniature set of the Woodbury skin prepara- 
tions, containing: 

A trial size cake of Woodbury's Facial Soap 
A sample tube of Woodbury's Facial Cream 
A sample box of Woodbury's Facial Powder 
Together with the treatment booklet, "A Skin 
You Love to Touch." 

If you live in Canada, address The Andrew 
Jergens Co., Limited, 1302Sherbrooke St., Perth, 
Ontario. English Agents: H. C. Quelch & Co., 
4 Ludgate Square, London, E. C. 4. 



Name. 
Street . 
City. . 



. State . 



£ 



Cutout this coupon and send it to us today 

Every advertisement in MOTION PICTURE MAGAZINE Is guaranteed. 



ivnaHnfft 1 



r^rr-^-y gr r j gg a ; " 1 ryrrr. ..'. I _. MM 



i i i ibiiiiiiii h i n i w i n i i ■ n —pti— m— mm— i ii n ip lumuuMMiiiiiJiw-UJ-iiiUMW 




Edwin Hower Hesser 



MADGE BELLAMY 

The little heroine of Love and Glory and The Iron Horse will next be seen 
in the role of Una, in The Dancers 




Tho this popular star has just received a 
new title, that of Mrs. James Cruze, she has 
already directed this famous director to tell 
the world that she'll continue starring as 
Betty Compson. She's now making Locked 
Doors. At the left she's flirting with Warner 
Baxter in a scene from The Garden of Weeds 




Every mail brings us dozens of letters from 
Ramon's admirers asking when they are to 
see him in Ben Hur. As this production 
is still being filmed in Italy, we can make 
no definite answer to their inquiries. 
Therefore, we give them, as a sort of "con- 
solation prize," these wonderful studies of 
Ramon, as himself and in the character of 
Ben Hur 







FRANCES 
HOWARD 



Frances Howard was 
"the talk of the town" 
when she, a girl un- 
known in the world 
of motion pictures, 
was chosen as the star 
of The Swan. But 
having watched Miss 
Howard at work in 
the studio, we proph- 
esy that, as soon as 
the picture is re- 
leased, she will be- 
come "the toast of the 
town." At the right 
you see her with her 
two small picture- 
brothers, and their 
tutor (Ricardo 
Cortez) 




LOIS 
WILSON 




Do human beings ever remind you of inani- 
mate things? Valentino, for instance, reminds 
us of a rare old violin; as we watch Lillian 
Gish we seem to be watching the stars come 
out, one by one, in a Colorado sky; but when 
we see Lois Wilson, we also see our great- 
grandmother's sampler. It is worked on linen 
that she wove herself and is now turned an 
exquisite creamy yellow. Her sterling quali- 
ties shine forth in the mottoes she chose; her 
sense of humor in the quaint little designs that 
she embroidered. Sometimes the colors on it 
are delicate and elusive, and sometimes they 
are so intense that they burn. See if you can 
understand what we mean by this comparison 
when you see Lois in North of 36 




GEORGE 
O'BRIEN 

All the flapper 
fans will readily 
agree that George 
O'Brien is the em- 
bodiment of the 
ideal American 
football hero. His 
film career is only 
one year old, but 
in that time he has 
battled his way to 
the top. Of course, 
you have seen him 
in the Fox super- 
feature, The Iron 
Horse. Watch for 
him in the role of 
Tony, in The 
Dancers 



Melbourne Spurr 



ALICE 
JOYCE 

For the past few 
years the fans have 
been faithfully 
singing Alice, 
Where Art Thou? 
Constant repetition 
brings results, as 
any good advertis- 
ing copy-writer 
will tell you, and 
now Alice has 
come back to the 
screen. You'll see 
her in White Man, 
and, after that, in 
A Man's World 




Pach Brothers 




Kenneth Alexander 



NORMA TALMADGE 

After gazing at this lovely study, dont you all 
feel like chanting, Norma, Norma, you must 
never bob your hair. Norma's hair is a glori- 
ous brownish black, with glints of red when 
you see it in the sunshine. She has finished 
her work in The Lady, a scene from which we 
reproduce at the right, and is now sailing for 
a long vacation in Europe 








We asked Buster to give us a portrait 
of himself in which "he cracked a smile," 
but he said he couldn't take the risk, 
that it might crack the loyalty of his 
fans if they knew he could look other 
than solemn and cynical. He's now mak- 
ing Seven Chances, which will be repro- 
duced oil the screen in color 






Stories About the Old Times 



Told By tKe Old-Timers 



DW. GRIFFITH discov 
ered most of the big 
stars who are now 
on the top of the 
heap. He told me, once, how 
he happened to find them. 
The very first one he 
picked was Arthur John- 
son, now dead. Many 
critics consider Arthur 
Johnson to have been the 
finest actor ever on the 
screen. 

Griffith said he was mak- 
ing-one of his very first pic- 
tures at the old Biograph Studio 
on Fourteenth Street, New York. 
He simply had to have an actor who 
could look like a society man without 
too great a strain on his imagination. 

There was no one then at the studio 
who would do, so Griffith went down to a theatrical 
agency on Broadway. As he went in the door, he bumped 
into a man coming out the door. He was exactly the type 
Griffith was looking for. 

Dashing wildly into the office, Griffith asked the name of 

the man he had seen going out ; found his name was 

Arthur Johnson and tore downstairs in pursuit of him. 

D. W. was all out of breath when he overtook the tall, 

fastidious figure. He 
had just enough wind 
left to gasp : 

"Say, are you an 
actor ?" 

Johnson stopped; 
hung his cane o'n his 
arm, took off his hat ; 
wearily smoothed back 
his hair. 




The Cishes in The Two Orphans 




Then he said : "There is 
some difference of opinion 
about it." 



At the left, Mae 
Marsh as she 
looked when D. 
W. Griffith dis- 
covered her; at 
the right, Bobby 
Harron, who 
was his greatest 
actor, and who 
met with an ac- 
cidental death 
a few years ago 



extracted a "dear" from her ; but be- 
fore he looked he says he had de- 
cided to give her a job-— whoever 
it was. 
What he saw was a plump 
and self-confident young 
miss, to whom the ogre 
was saying: "But, dear, 
how can you see Mr. 
Griffith, he doesn't know 
you." 

"Well," said the girl 
promptly, "how can Mr. 
Griffith know whether he 
^r wants to see me until he has 

seen me ? He's got to see me be- 
fore he knows if I would do, 
hasn't he?" 

The ogre hesitated. "Who shall I say 
wants to see him?" 

"You just tell him Mary Pickford 
wants to see him ; and if he doesn't know who Mary Pick- 
ford is I'll come up and tell him." 

After Mary Pickford had been working for the Bio- 
graph Company for a while, she appeared one day with 
two very badly scared little girls. She told Mr. Griffith 
that they wanted to be movie actresses, like her. 

Down thru the center of the old drawing-room was a 
rail to divide the public from the promised land. 

Mr. Griffith smiled. 
"Now, Mary," he said. 
"Be careful. These little 
girls are on the outside of 
the gate. If they pass 
thru, Mary Pickford may 
have some very dangerous 
rivals. Look out." 

Mary tossed her head 
with scorn. "Mary 
Pickford," she said, 
"isn't afraid to have 
any girls pass thru 
that gate." 

And so Lillian and 
Dorothy Gish got 
into the movies. 



T^ zr 



l 



"K/Tary Pickford found herself for 
■*■ -"■ Griffith, so to speak. 

The Biograph was located in an old 
New York house. The drawing-room of 
this house was in use as an office. An 
ogre was in charge. She was a lady ogre, 
but none the less fierce. 

She could get rid of a pest with one 
glare. 

One day as Griffith was coming down- 
stairs, over the banisters, he heard the 
ogre say "Dear" to someone. -He leaned 
over the balcony to see who could have 
20 
at 





Blanche Sweet, in the days 

when she was known as 

"The Biograph Girl" 



hortly after he 
came to Califor- 
nia to make pictures, 
Mr. Griffith was di- 
recting a scene in which Marguerite 
Loveridge was working. She asked 
him if she might bring her little sister 
to look on. 

Little sister came and watched with 
eyes big with wonder. She was a 
quaint, elfin, little thing. Mr. Griffith 
kept watching her out of the corner 
of his eye. Finally he crossed over 
to where she was sitting on an 
old log. 

"Get up and turn around two or 
three times as tho you were so happy 
you couldn't hold yourself in." 



~\ 




The little, scared girl did 
it. 

"Now, imagine that you 
have waited a long time for 
your beau, and there he goes 
with another girl on his arm. 
Now, how do you feel ?" 

And the little, scared girl 
showed him. 

Then Mr. Griffith turned 
to the company. "All of you 
are now excused. None of 
you need come back to- 
morrow except this little 
girl." 

The little, scared girl, was 
Mae Marsh. 

Griffith found Mack Sen- 
nett waiting in his outer 
office asking for a job as a 
strong man. He was an 
adventurous, romantic 
young Irishman who had left 
his home in Canada to see the 
world and was working at 
any old job he could get in 
New York. Almost at once 
he became one of the leading comedians of the screen. 




Texas Guinan, the 

original "cow-girl" of 

the movies 



Monte Blue in The 
Kentuckians, one of 
his first picture roles 



T> lanche Sweet first got into the Griffith studio in 
"*-^ reply to a request for a dancer. She was a young 
professional dancer, and had no thought of being a movie 
actress. With D. W.'s strange prescience in detecting 
genius, he made her an actress. She was one of the first 
girls of the screen to show symptoms of real greatness. 

Mabel Normand's story was very much the same. She 
was a cloak model and was employed at Biograph to 
appear in a scene as an extra to wear some beautiful 
clothes. 

'Robert Harron was a prop boy in the company. One 
day the parish priest brought two young boys around to 
the studio. He said they were good boys and he wanted 
to get them jobs. They both got the jobs. 

One was James Smith, who has been with Griffith ever 
since as his film editor. Bobbie Harron was the finest 
actor Griffith ever had until his 
death by an accident with a revolver 
a few years ago. 

Florence Lawrence, one of the 
great stars of the old Biograph days, 
was found by Mr. Griffith at a so- 
ciety dance. He asked for an intro- 
duction and invited her on the spot 
to become a movie star. She is now 
in Hollywood in the real-estate 
business. 

Griffith found Monte Blue among 
the cow-punchers who rode at day's 
wages in the Ku Klux scenes in 
The Birth of a Nation. He con- 
siders Monte one of the finest actors 
that ever worked in his studio. 

Altho Jack Pickford is still a boy 
"*^" on the sunny side of thirty, he 
is one of the veterans of pictures 
and has been in the business since 
the earliest days of the old 
Biograph. 

■ He says that one day Mary came 
home in a very haughty and im- 
portant mood ; she announced that 



Below, Earle Williams as John Storm 
in The Christian, his favorite role 




she was now a movie actress. 
This was too much for Jack 
and his other sister, Lottie ; 
they didn't propose to let 
Mary get away with that. So 
they hustled down to the near- 
est rival studio. As I remem- 
ber it, it was the old Pathe. 

The man at the window 
handed them out a printed slip 
with a lot of questions : Could 
they ride, shoot, swim, dive, 
perform acrobatics ? Also, had 
they experience as actors? 

Jack said the truth was they 
couldn't do anything but eat; 
but a small formality like that 
was not allowed to stand in the 
way. So he and Lottie wrote 
"Yes" to every question on the 
slip. Such genius was not to 
be overlooked ; so the manager 
made haste to sign up two per 
sons of such enormous versa- 
tility. That night they came 
home and informed Mary with 
uplifted noses that they, too, 
were motion-picture actors, and had important parts. 

Soon after Jack joined, the company moved to Cali- 
fornia — then a pioneer picture land. Nearly all the pic- 
tures they made then were Westerns. 

Jack says the grandees of the company rode out in 
automobiles ; but he wasn't one of the grandees. Every 
morning, about daylight, he could call at a certain house 
with his bicycle and a boy would come out and perch him- 
self on the handle-bars and they would ride thus to the 
distant location ; the boy who rode the handle-bars was 
Robert Harron, afterward one of the great stars of 
pictures. 



' I 'ex as Guinan's movie reminiscences come in a volley 
■*■ of re-echoing shot and shell, the beating of horses' 

hoofs and the hiss of the lariat. 

"My big chance for the movies," said Texas, "came 

when a Vitagraph manager saw me ride a snow-white 
charger down the runway of the 
old Winter Garden theater, all 
dressed up in black lace chaps and 
swinging a lariat. Of course, we 
poor chorus girls at the Winter 
Garden were always looking for 
some new stunt whereby to distin- 
guish ourselves, so when I asked the 
manager if I rtiight ride a horse 
down the runway instead of merely 
dancing down, he said, 'All right, if 
you dont kill too many of the cus- 
tomers.' 

"I'll admit most of them got un- 
der their seats when they heard my 
steed thundering above their heads, 
but a few stayed up to watch me, 
and after the show a Vitagraph man 
in the audience signed me up for 
the movies at $1,200 a week — a sal- 
ary then unheard-of in screen land. 
For the next two years I made a 
two-reel Wild Western picture 
every two weeks, and what a time 
I had ! I could throw a lariat, rope 
a steer, ride and shoot to beat any 
(Continued on page 84) 

21 
P*<3 



t 




-J 




4 



-i 



Rudolph Valentino returned 
from a long vacation in Europe 
recently, wearing his new and 
already celebrated beard, which 
he defended thus: "My next 
picture, The Scarlet Power, is 
to be a Spanish-Moorish story 
of the Fourteenth Century, and 
in those days it was simply 
unknown for a gentleman of 
Spain or Morocco to be clean- 
shaven. Now, I'm opposed to 
fakery — so I refuse to wear 
a ridiculous false beard." 
Bravo! Valentino! 



In the picture at the top of the 
page you will see Rudolph 
Valentino chatting with his 
brother on the terrace of their 
villa overlooking Nice. At the 
right is Mrs. Valentino (Natacha 
Rambova) wearing one of the 
many exquisite costumes de- 
signed especially for her by a 
celebrated Parisian artist 



I 




22 
AGe. 



LOVE'S 
OLD 

SWEET 
SONG 




: 



If the stage and the screen had not claimed Doris Kenyon, she would 
undoubtedly have become a distinguished musician. She plays beautifully, 
&nd makes her own musical atmosphere for her new picture, A Thief in 
Paradise, in which she stars with Ronald Colman. Isn't it too bad that the 
camera doesn't translate melody? However, by observing the way that 
Ronald makes love when you see the picture on the screen, you will 
realize Miss Kenyon has achieved the desired effect 



23 

PAG 



I 



* 



Confidences Off-Screen 

By 
Wild Women and Beards and Sudden Stars 



t 



THE latesl Ead among motion-picture stars is to 
proclaim thai their work should not he called 
acting. On the legitimate stage, they say, certain 
definite values are obtained with the voice and 
accompanying gestures. And that is acting. For the 
screen, one must he a silent portrayer. The trick is to he 
so imbued with one's role that everything done before the^ 
camera seems natural and inevitable. 

1 quoted A.dolphe Menjou to the above effect last 
mouth, lie made it convincing, and 1 agree he couldn't 
have Eound a better formula for his method. Hut it's 
only a formula. It's another way of saying that he makes 
his characters live, which is the object o\ every mime, 
silent or otherwise. To clarify the point, 1 beg to assure 
the reader that a real prince would not be half so effec- 
tive in The Swan as is Monsieur Menjou. The prince 
would be incapable of 'a false move, yet would seem dull 
because he lacked the art of acting. 

All of which brings me to the subject of this con- 
fidence off-screen — the extremely talented Jetta Goudal. 
After several other stars had declared their joy in the 
new title of portrayer, I went to see Miss Goudal at 
Famous Players studio, where she is playing the lead in 
the film version of Anzia Yczierska's Salome of the 
Tenements, 

She was born at Versailles near Paris, and 
is three-quarters French, one-quarter Dutch. 
Mere is a vivid, exotic type, a blending of 
Latin street gamine and international vamp. 
I f I could express her singular at 
traction in suaver terms, I'd gladly 
do so; but these seem to tit. In 
Open .III Night, she played a 
daughter of joy infatuated with a 
six-dav bicycle champion, as such a 
role was never before played in an 
American -made picture. It was 
real, it was subtle, it was Parisian 

You gasped at the 

gaudy malignity of the 
character, and saluted 
the artistry of Jetta 
every moment she was 
on the screen. 

Now. in the Ye/ier- 
ska Ghetto drama she 
is to be a young Jewess 
with a soul and a pas- 
sion for luxury, who 
marries a millionaire settlement worker, 
feel aboul it ? 1 asked. 

"I love doing Sonia (the heroine')," she answered in- 
tensely. "For the time being, 1 am Sonia. First as a 
child in the tenements, then as a beautv-mad girl who 
knows how to make life give her what she wants. It 
wont be acting. It will be living the part in a picture." 

"You, too!" I thought. But m\ next question was: 
"Do you prefer extreme roles ?" 

"Absolutely. 1 want chance after chanCe to go to 
extremes in portraying character. 1 have been a Hindu 
in The Green Goddess and a half-Chinese woman in The 
24 
at 




Adolphe Menjou and Frances II 
of The 



Mow did she 



Bright Shawl, a Paris cocotte and now an East Side 
immigrant. I have enjoyed all of them." 

We chatted along these lines for a delightful half- 
hour. 1 had rarely met any one whose temperament was 
so completely that of the actress. By asserting that she 
merged herself in the heroine of the moment and that 
she liked to pass from one strange part to another far 
removed from it, she merely proved her devotion to the 
technique of her profession. Eventually, I told her so. 

She thought it over, her eyes twinkled, and she said 
she'd known it all along. Even race was of little con- 
sequence, she added. 1 didn't admit that an artist can 
wholly put off the cloak of nationality, but that is an- 
other story. 

For esthetic satisfaction, avoid the amateur. And 
when you find a good thing, shout about it. I present 
to you, therefore, Jetta Goudal — one hundred per cent, 
conscious actress.' 

Bearded for Sincerity 

/~"\n his return from Europe to star for Ritz-Carltou 
^^ Pictures, I dropped in for a talk with Rudolph 
Valentino. He was wearing his new and already cele- 
brated beard, and for some reason he thought it well to 
lose no time about defending it. 

''Our first production is going to be a Spanish- 
Moorish story, with the scene laid in the four- 
teenth century/' he said, fingering 
the beard with a picturesque ges- 
ture. "In those days, it was simply 
unknown for a Spanish gentleman 
to be clean shaven. Then, there is 
an episode in which I take refuge 
among the Moors and pass as one 
of them. The Moors have always 
worn luxuriant wdiiskers. A 
barbered fugitive in their midst 
would be a conspicuous object." 

"And a false beard is never con- 
vincing. Is that it ?" 

"Precisely. I am 
opposed to fake ry 
of any kind. The 
picture starts o(i with 
1 1 me as a boy, when 
1^^* naturally I'll be 
oward. the Prince and Princess smooth- faced . But 

Swan as jt develops, l'\e 

grown to be a man 
of about thirty, who is noted for his sinister appear- 
ance. It would be pretty bard for me to appear sinister 
without a beard, ami in a false one I'd only succeed in 
being comical." 

For my part, 1 thought the beard suited Valentino. 
It gives him the final romantic touch, makes him look- 
like a real sheik. Bui he's afraid the fans wont like it. 
What do those who read this think? 

There will be more about him in the next department. 
The picture has been titled The Scarlet Power, and June 
Mathis has written the scenario from the novel by Justus 
Laine. Valentino's contract gives him the free hand he 



OT.M0TI0N PICTUR 

1 1101 I MAGAZINE 



has always wanted. He impresses me as being on his 
way to greater success than ever. 

How the Movies Lost One Extra 

"Crances Howard gave a party the other day for the 
■*■ lucky writers of the motion-picture press. A regal 
party it was, in all senses- of the word, for Miss Howard 
received us in costume as the princess in The Swan, and 
the luncheon tables were laid at Famous Players 
studio beside one of the most gorgeous court sets ever 
built. One looked down a vista that fulfilled every illu- 
sion concerning ballrooms in the palaces of kings. The 
furniture was sumptuous. The chandelier — but enough 
about material details. The chief attraction was charm- 
ing Frances Howard. 

She was playing on Broadway in a comedy called The 
Best People when it was suddenly announced that she, 
and not Elsie Ferguson, would be starred along with 
Adolphe Menjou in The Szvan. It was a big surprise. 
One didn't exactly ask, "Who is Frances Howard?" be- 
cause she had made a decided hit on the speaking stage. 
But one searched one's memory for a record in pictures 
that would justify her promotion — and failed. The next 

bulletin avowed 
nonchalantly that 
this would be her 
screen debut, that 
she had been 
chosen because she 
looked the part, 
had the tempera- 
ment, and had 
come thru the 
photographic tests 
triumphantly. 

I found it hard 
to believe. So I 
made an oppor- 
tunity at her 
party, and backed 
her up against the 
scenery. 

"Is it true," I 
demanded in mv 




Corinne Griffith was de- 
lighted to be given a role 
in Love's Wilderness, that 
wasn't "all dressed up" 



most impressive tone, "is it 
true that you are acting be- 
fore a camera for the first 
time?" 

"Cross my heart," she an- 
swered, and crossed it. 

"You were never even an 
extra, in hard times?" 

"Never," she swore. But 
my use of the word "extra" 
proved to be fortunate. It 
led her to give me a con- 
fidence that ranks high among 
the romances of a romantic 
calling. 

"I wasn't indifferent to mo- 
tion pictures," she said. "No 
actress very well could be. 
But I didn't know how to get 
into them. My connections 
were all with the theater. I 
was sincerely modest, too. 



How many of Conway 
Tearle's admirers know 
that he is an accom- 
plished pianist? 



about my 
lack of ex- 
perience, and 
felt I'd have 
to begin at 
the ■ bottom 
of the movie 
ladder. Some- 
one told me 
about the op- 
por tunities 
for extras, 
and do. you 
know what I 
decided to 
do? My full 
name is Frances 
Howard Mc- 
Laughlin. I 
made up my 
mind I'd go out 




Jetta Coudal as the child of 

the ghetto in Salome of the 

Tenements 



as unkn own 
Frances Mc- 
Laughlin, and 
ask for work as 

an extra at this very studio. When Frances Howard 
later tried for a big role, no one need know how or when 
she had got her training. Just as I was about to-do it, 
Famous Players offered me my contract to be a princess." 
Almost like a fairy-tale, isn't it? The movies lost one 
grand little extra in Miss Howard, but they have gained 
a star. 

Conway Tearle and the Critics 

A correspondent, Marianne Carpenter, dropped me a 
■*^* line in praise of Conway Tearle. "Ask him to ex- 
press his ideas about the effect of newspaper criticism 
upon the popularity of a player," she suggested, "and 
also his individual reactions to the opinions of profes- 
sional critics." 

When a fan wants reasonable questions asked, I am 
happy to comply. So I went to see Mr. Tearle at the 
New York studio where he and Madge Kennedy were 
working in The Ultimate Good for the -Associated Ex- 
hibitors. I showed him the letter, which ran to four 
pages and afforded good material for an interview. 
Conway Tearle, Miss Carpenter, is a finished actor 
with a long career both on the stage 
and in motion pictures. He is, 
you know, one of the 
handsomest men in 
the game, and he 
looks particu- 
larly well in 
evening clothes. 
This has caused 
him to be in 
demand to play 
opposite beauti- 
ful women 
stars, and in 
any such com- 
bination it is 
the woman who 
gets the best of 
the break. Pro- 
ducers and di- 
rectors — or so 
he says — have 
done their 
(Continued on 
page 111) 

25 
PAG 




i 




His Highness, Adolpke Menjou, Impersonating an Arrogant Prince 

Sketched by Eldon Kclley 



The role of prince of the royal blood, which he plays in his latest 
picture, The Swan, is peculiarly fitted to Adolphe Menjou, since 
he is one of the really-truly highbrows of the screen. He is a 
graduate of Culver Military Academy and of Cornell University 
and, on- top of all this, he is a hero of the World War. This sketcb 
was made in the Famous Players-Lasky Studio, on Long Island, 
while the director, the cameramen, the electricians, and the 
musicians were all busily working — as well as the actors 



I 



26 
at 



Irish — and in L 



ove 



Pat OMalley tells Harry Carr all about the early days when a film actor called himself lucky 

if he received fifteen dollars a week 



MORE Irish than potatoes with their jackets on : 
that's Pat O'Malley. 
Pat says it is like to ruin his life. At a time 
when mysterious young sheiks with stove- 
polish hair are in high demand, Pat cant even make his 
red hair stay down — much less look like a wet sea-lion. 

Not only his hair but his heart — that Irish heart that 
was always making him fall in love. 

"It began when I was a little boy," said Pat, setting 
a match to the old Irish dudeen. 

"One day I went to a circus and fell in love with a lady 
horseback rider in pink tights. I decided to be a circus 
actor right there and then. Not having a horse to prac- 
tise on, I decided I would have to be a tight-rope walker. 

"I went right home and stretched my mother's clothes- 
line out between two fence-posts and practised until I 
was plastered with black-and-blue spots — more spots than 
a turkey's egg. 

"They laughed at me until I got sensitive. I decided I 
would have to perfect my art in private. I strung the old 
clothes-line between two door-knobs in my mother's 
kitchen. This also ended with embarrassment. We hadn't 
paid the rent for some time and the landlord happened to 
come in just as I pulled both the door-knobs off. 

"From what he said and my mother said, I couldn't see 
where I was going to find much encouragement in my 
art around home, so I ran away and got a job with 
a circus. And sure enough I learned to walk the 
tight rope. It's a trick, like anything else. You 
think you will never learn how ; then all of a sud- 
den you find yourself doing it. But alas, by the 
time I got with the circus I had forgotten all about » 

the girl with the pink tights— which is the way 
with life and circuses. 

"I stayed with the circus for some years. 
Most of the time I was a tight-rope walker. 
Sometimes I played a strong man and flung 
a girl all around the ring ; sometimes I got 
dressed up and played the girl who was 
flung around. That stuff is all tricks, you 
understand. 



I 



T was falling in love again that made me 
an actor. I forget her name entirely. 
But anyhow she was an actress with the old 
Kalem company. I saw her in Chicago 
while I was waiting to go out 
with a big top show. Well, I 
haven't been inside a circus-tent 
since. 

"I heard she was going to 
Florida, so I parted with my 
old yellow diamond, which 
looked like a fried egg, and fol- 
lowed her. 

"I made up my mind that I 
should not fail to win 
her on account of any 
possible deficiencies in 
my own scenery. 
When I arrived in 
Florida, I was a 
vision in a red suit 



Irish 
away 




And tho Pat is now 

a great film star, at 

heart he is still the 

kid who ran 

and joined a 

circus 



with white spats and chamois gloves turned down at the 
wrists. 

"To my enormous delight, the manager gave me a job 
the very first day. And that without me speaking for it 
at all. He gave me a look and said, 'Are you an actor?' 
With those clothes he thought I must be something queer. 
'Sure/ said I, very careless. 

"And so he gives me a job in the same company with 
the charmer. She didn't work the first few days I was 
there. They told me I was a policeman and gave me a 
club and told me to arrest Robert Yignola, at that time 
he being an actor and playing the leading part. He is now 
one of the great directors of the world. 

"I wasn't going to fall down for lack of zeal. When 
they told me to arrest him. I gave him a whack with my 
stick that made his eyes bulge out, and grabbed him by 
the arm. I didn't know I was supposed to let him go 
when the director called 'Cut.' So when he tried to 
struggle loose, I gave him a couple more good cracks and 
pretty near wrenched his arm off. I'd have killed him if 
he hadn't come along. They told me to arrest him, so I 
arrested him. 

"My heart almost stood still when at last the dream 

girl came out to work in a scene. It started to move along 

at its regular pace again when I saw, following along in 

her wake, her loving husband and three children. That's 

the way with the Irish; they never calculate. 

"But once started, I thought I might as well 
keep on being an actor anyhow. Maybe I fell 
in love again or something; but anyhow I found 
myself working for Sidney Alcott, who has 
since become one of the 
highest-priced directors in the 
world. Maybe he was high- 
priced then ; but I sure wasn't. 
My. my, what that Irishman 
made me do for my living! 

"One of the first parts I 
had with him was in a melo- 
drama. I never could make 
out what it was all about and 
I dont think he could either. 
Anyhow, I was somebody's 
brother ; and there never was 
any busier brother, I can 
promise you that. 

"They poured some gaso- 
line out on the water and set 
it on fire and told me to dive 
in under it. I asked him what 
I was to do when I came up 
in the middle of that fire. He 
said, careless, 'Oh, you can 
just brush it away or some- 
thing with vour hands when you come 

"Well, I did and escaped with my life. 

"Between times of acting I was prop 
boy and stage carpenter. I hammered 
together the sets and then acted in them. 
For all this I got fifteen dollars a week. 
Every time I made a kick, Alcott would 
(Continued on page 102) 

27 
PAG 



t 




Kenneth Alexander 



Above, meet Betty in the role of her real self; below, meet her as the heroine of Chu Chin Chow 

Betty Was a College Widow 

Before Betty Blytlie was a movie star she -was reigning belle of her home-town college. 
Such a good sport was Betty that every football hero would gladly have died for her 



By HARRY CARR 



BETTY BLYTHE is one of the few stars 
who know which fork to use without 
I watching out of the corner of her 
eye to see which tool the hostess 
is going to eat with. Betty knows how. 
She has always known how. She was 
"reared up thata way," as they say 
in the South. 

When I first knew Betty Blythe, 
she had no thought of going into 
the movies. She was a college 
belle. 

Los Angeles is, in a way, a col- 
lege town. There are several 
football institutions where they 
provide genius, learning, and yell 
leaders for a waiting world. Betty 
was the shining queen of one of 
these colleges. 

She was the greatest belle I have 
ever known. When the shattered frag- 
ments of the plunging halfback were ten- 
derly carried off the field on a stretcher, he 
28 ' 



/fvderl 
P28 




considered that his sacrifice had not been in vain 
if the lovely Betty's voice could be heard shrill- 
ing from the grandstand in recognition of 
his heroism. 
If Betty wore the colors of one class, 
the sheiks of the other classes sulked 
out behind the gymnasium and medi- 
tated the best methods of suicide^— . 
some kind of a suicide that would 
make her spend the rest of her 
days mourning to think what she 
had done. 

"Blythe" is just a screen name. 

Her real, home-grown name was 

Elizabeth Slaughter. From which 

came the prize, catty joke of the 

lesser belles of the college. They 

used to call Betty's suitors, "Betty's 

lambs" : you see, the lambs that were 

led to the Slaughter. 

But Betty was so good a sport that 

she adopted the joke herself; and she 

used to say that she couldn't accept this 



invitation or that because one of the lambs was coming to call. 

At any season Betty was a charming girl ; but to see her really 
in full bloom, you had to see her in summer. And sometimes 
you saw quite a lot of her. 

The summer life in California is carried on with a charming 
freedom. The flappers wear bathing-suits just as short as the 
boys, and, between bathing-suits, they wear white duck sailor- 
trousers — also just like the boys. It is so matter-of-fact and 
innocent that it is disarming. 

And so Betty, of course, wore the same bathing-suits that the 
other girls wore, entirely 
oblivious of the fact that 
the figure encased in her's 
was one day to become 
famous around the world. 

In those days she was the 
best girl swimmer I ever 
saw ; also the best dancer. 

Betty and her gang of 
college boys had evolved a 
peculiar jazz dance all their 
own. We used to have a 
summer cottage at Balboa, 
where so many movies are 
made, and that cottage used 
to be the scene of their 
dances. 

The boys used to come 
arrayed for the occasion 
with rubber-soled shoes 
that would stick to the floor 
and workman-like trousers 
— ready for business. 

As well as it comes to my 
startled recollection, the 



«°K^ UR R 



When Betty played baseball, she 
dressed up like the boys. She eould 
swat home-runs like Babe Ruth and 
pick hot fouls off the bat with a 
catcher's mask over her face. Note 
the Betty of today at the right and 
imagine her long, lithe, beautiful 
body shooting up in the air to spear 
a passing ball 





dance was partly 

Paris apache and 

partly American 

jazz. They made 

it up as they 

went along. All 

I can remember 

about it is the 

way they used 

to fling Betty 

around the 

room from one 

football halfback 

to another. How 

it happened that 

she was never 

broken into pieces I 

have never figured 

out. But somehow she 

survived. 

Betty thought it 
was great. 

When they were 
not dancing, they 
played baseball on 
the broad, firm sands 
of the long beach. 

Betty could hold 
up her end with any 
of the college base- 
ball stars. She could pitch, wildly but well; she could 
"pick" the hot fouls off the bat with a catcher's mask over 
her face ; she could swat out home-runs like Babe Ruth. 

To this day a scene comes back to me, of a college boy 
hot- footing down to first base, with the sand scattering 
(Continued on page 98) 

29 
PAG 



In all her peacock glory as the vamp 
in Potash and Perlmutter in Holly- 
wood (above), Betty is no more beau- 
tiful than she looked to her football 
heroes when she was only a poor 
minister's daughter. At the left is an 
actual snap-shot of Betty as the 
"college widow," the little high-school 
girl adored by all the college boys 



i 






Here Are trie 

New Year's 

Resolutions 



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r*T 




Hommel 




I 



30 
oe. 







That the Stars 

Will Try to 

Keep in 1925 



Eugene 
Robert 
Riehee 




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<44<la, Co A*^,1fc^^ 



Kevca 



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31 P 

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And 

Still 

More 

Resolutions 



Henry Waxman 








Henry Waxman 



Russell Ball 




Riche 



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32 



Tke Laundress Who Loved an Emperor 

These are scenes from Glorias newest picture, 1NLa.ila.me 
Sans-Gene, which she has just completed in France 




A cast of distinguished French players 
support Miss Swanson. M. Drian, one 
of the most famous Napoleons of any 
time or stage, plays the Little Corporal. 
Charles De Roche, well known to fans in 
this country, and called the Valentino 
of France, plays the role of Marshal 
Lefebvre. Great masses of French sol- 
diers in actual Napoleonic uniforms, 
march thru the streets of Paris and under 
the Arc de Triomphe before the eye of 
an American camera. Gloria herself was 
housed, during her entire stay, in one of 
the most palatial residences in Paris, 
the home of the Marquis de Brantes, a 
general in the French army with a title 
dating back to the time of Louis XIV 



What I Can Read in trie 




A Complete Analysis 



I 



MARY HAY 



WENT to the Barthelmess home to make this analysis 
of Mary Hay. The home, like its little mistress, has a 
comfortable, friendly atmosphere. 

In reading her character I noticed first that her face 
was nearly harmonic. By this I mean that no one tempera- 
ment is wholly dominant, that the three temperaments — the 
vital, motive and mental — are all represented in the disposi- 
tion ; with the vital or social side of the nature more 
developed than the others. Yon will notice that the vital or 
social side of Mr. Barthelmess is not so well developed, 
while the mental and the motive sides are more developed. 
He, at times, prefers solitude, whereas his wife always 
enjoys people and does not like to spend much time alone. 
In the mouth (upper lip) there is found an enthusiastic, 
ardent nature ; one that is sympathetic and kind and inter- 
ested in people. In the lower lip is found a well-developed 
maternal instinct. 

The nose shows good observation. Mrs. Barthelmess 
notices especially people's clothes ; she has a good imagina- 
tion, is easy-going and lacking in aggression. She is not 
naturally studious but gathers information quickly from 
that which she sees and hears. She is very intuitive, and 
feels and knows things instinctively. Her judgment is quick 
and, because of intuitive ability, it is usually accurate. 

In the forehead the music signs, tune and rhythm, are well 

developed. Development of these signs means the ability 

to hear sounds accurately, to memorize music easily, and 

a natural liking for dancing. Such people always dance well. 

{Continued on page 99) 




_| 



I 



HAROLD LLOYD 



Gene Kornman 



IF motion pictures had never been invented, I am very 
sure that Harold Lloyd would have been a successful 
business man. 
In reading his character, I noticed first his forehead, 
which has good height and breadth and shows excellent 
mentality. The reflective faculties are well developed. He 
has an excellent memory for facts and things concerning 
business. There are lines across the forehead which denote 
a serious nature and a capacity for logical thinking. There 
are also lines at the root of the nose and in between the 
eyes which denote a conscientious nature. 

The nose indicates an analytical person, one who looks 
for the reason of things. By the nose we know him to be 
also an observing person, one who has good powers of con- 
centration and constructive ability. 

Above the eyes is shown good power of visualization and 
extreme individuality. The narrowness across the eyes 
shows that he is not at all mathematical. 

The mouth (upper lip) shows a kind, sympathetic, 
charitable nature. The lower lip shows affection, loyalty 
to friends, and clannishness where family is concerned. A 
person of this type makes a staunch friend but a bitter 
enemy. The paternal instinct is well developed ; the 
parentheses about the mouth show dignity and pride. 

In the chin and jaw are found great endurance, per- 
sistency, and ability to put thru whatever he undertakes to 
accomplish. 

The hands show he is a practical person, one who is 
impulsive and very sensitive, a frank, outspoken individual. 

The cheeks show he is cautious but courageous, with the 
courage of his convictions. 

(Continued on page 99) 



40 



Whose Hand? 



In which a mysterious telephone message precipitates two amazing incidents 

By W. ADOLPHE ROBERTS 

PART II 
(A Synopsis of Part I zvill be found on page 91) 



WHEN Margot Anstruther pressed the elec- 
tric switch that flooded the darkness of her 
room with light from the reading-lamp, she 
felt that she had made the first throw of the 
dice in a game with death. The creature whose hand she 
had seen flit out from under her bed, to extinguish the 
flaming match on the rug — would it take this as a chal- 
lenge, or as a natural move on the part of a girl who had 
found she could not sleep? Margot picked up the novel 
she had let fall on the coverlet, and rustled its pages 
ostentatiously. 

The dark, at all events, had been a condition of pregnant 
danger. The lurker might have crept forth at any instant. 
Now he might wait, as he had waited all evening, for the 
light to be turned off again. If only his suspicions had not 
been aroused! If only he imagined her to be reading! 

Brief, but leaden-footed, moments passed, and Margot 
told herself that she had won the throw. There was no 
sound from under the bed. But what she had gained was 
no better than a respite, a 
chance to plan. If she delayed 
too long, that would invite ac- 
tion from her enemy. He 
would cease to think it normal 
that she should lie there with 
a book into the small hours of 
the morning. 

Margot measured the dis- 
tances to the bathroom and to 
the door leading to the hall. 
Impossible to think of making 
a dash for either of them. 
The intruder was undoubtedly 
armed, and would shoot. If 
she got out of bed 
on any pretext, she 
reasoned, her brain 
whirling, he would 
strike no less quick- 
ly than if she had 
called for help. Her 
fear became sheer 
anguish, the more 
unbearable because 
she had not seen the 
face and body of 
her enemy. How to 
cope with one who 
might be man or 
woman, sane or in- 
sane, violent or 
craven, for all she 
knew ? 

It flashed into her 
mind that if she had 
not forbidden 
Eugene Valery to telephone 
this might have been the time he would 
have chosen to call. The tinkling bell 
would have given her a priceless con- 



tact with the outside world. She could have reached for 
the instrument on the little tabouret beside her bed, have 
cried "Hello !" into it so innocently that she would have 
been allowed to talk, unmolested — perhaps. She would 
have found veiled words to tell of her plight. But Eugene 
— no one — would telephone now. 

Telephone ! The word carried her forward to the 
notion of a desperate expedient. Why couldn't she call 
up? Probably, she'd not be allowed to get beyond giving 
a number to Central ; but if she were successful, if she 

once got Gene on the wire, she'd 
make him understand. He lived 
in the same block. He could be 
over in ten min- 



"Oh, Gene, I'm not so 
clever," she cried. "A 
couple of hours ago I 
was telling you I 
didn't need any man's 
help, but I wouldn't 
know what to do 
without you right now" 




utes. Yes, she'd 
try that. Any- 
thing was better 
than waiting in 
ghastly terror for 
the u n k n o w n 
Other One to take 
the initiative. 

Yet, as Margot 
afterward ad- 
mitted, she might 
not have been 
able to screw her- 
self to the point 
of such perilous 
action, if she had 
not suddenly re- 
membered a detail 
that filled her 
hope. The 
to her room 
not locked, 
the 



in 



eve- 



clear 



with 
door 
was 
Early 
ning, she had put 
the lock on the 
catch so that her 
guests could enter 
freely, and had 
neglected to 
change .it before 
going to bed. Her 
memory . was al- 
most supernatur- 
on the point. If 



came, he could walk 
straight in. 

Her arm went out and 

transferred the telephone to 

her pillow. She was sure 

now how the vital message 

must be gotten across. She would say it in French, 

the language of Gene's ancestors. There was a 

strong likelihood that the creature under her bed did 

not understand French. 

She gave the number in a casual voice. She heard 
the call put thru, and the bell ringing — ringing. Her 

43 
PAG 



f 



f 



"MOTION PICTURp 
I I MAGAZINE L 





heart was choking in her throat again. Suppose Gene had 
changed his mind about going home ! Suppose he had 
gone for a walk in the Park! Perhaps Central was not 
calling the right number. In an agony of suspense, 
M argot signaled again for the operator, started to repeat 
the combination of figures. Then — God, the relief — 
Eugene Valery's drowsy "Hello !" reached her. Con- 
trolling her voice to a pitch of cool friendliness, she said: 

"That you, Gene? Did I get you out of bed?" 

"Margot!" His naive joy at hearing from her verged 
on the ludicrous, seeing how sorely she needed him to be 
quick-witted and strong. "Wonderful of you to call up. 
Wonderful, you dear thing." 

"Awfully sorry to disturb you," she answered care- 
lessly, "but Pve been reading a French book, and I came 
to a passage I cant understand. It's keeping me awake, 
thinking of it. I want you to translate for me." 

"Translate — translate French?" Eugene's tone was 
mystified, faintly hurt. "I guess I can do that, all right." 

"These are the phrases." pursued Margot calmly: "II 
y a un Jioinme cm dessous tie mon lit. Venez tout de suite. 
Pas besoin de jrapper." She pronounced each word 
clearly, with the tingling realization that if the lurker 
happened to know French it would be all up with her in 
a few seconds. He might wait until she hung up the 
receiver, aware that any sudden cry would give an alarm 
over the wire, but no longer than that. 

"You're just fooling, aren't you, Margot? Surely you 
know what that means," replied Eugene, laughing. 

"I'll repeat it," said the girl, trembling. She must 

make Gene understand. So she uttered the foreign words 

7rv again, slowly, striving to pierce the distance and convev a 

AM* 



meaning by the color of her voice and the force of her will. 
But Gene was dense. He translated on a flippant note: 
" 'There's a man under my bed. Come at once. No need 
to knock/ What sort of a yellow-back thriller are you 
reading, Margot?" 

A third time, she reiterated the French, then added 
with a cautious urgency : "Get it right, wont 
you, Gene? It's important that you should." 
At last Gene comprehended. She heard him 
gasp, and his teeth click. "Good 
God !" he muttered. "All right, dear. 
I'll be there on the jump." 

"Thanks so much for translating," 
she said, to complete the pretence, 
tho the receiver on his end had 
already been hung up. "Awfully 
sorry to have waked you. Good 
night." 

She relaxed upon her pillow with 
a little cough and a sigh so profound 
that it created in her almost a sleepy 
contentment. Her body cooled from 
fire to ice with the transition of 
thought. She expected to be attacked 
now by the intruder, but that no 
longer appeared to matter greatly. 
Hours and days rolled over her, 
while she lay benumbed. Odd that 
she should still be safe, she reflected 
vaguely. Well, Gene would have to 
ring the bell to get in downstairs, but 
it connected with the basement. No 
one in her room could hear it. She 
might still be rescued. 

Suddenly she caught a faint, 
creaking sound upon the stairs. Feet 
shuffled on the landing. A~ hand 
fumbled at the knob of her door. 
Her muscles stiffened again. She 
was as rigid under the coverlet as a 
dead woman when the door was thrown wide open, and 
she saw Gene. His face was white and haggard, and he 
held a revolver, thrust in front of him. He gave her only 
the swiftest glance, to see she was alive, before he called 
hoarsely : 
• "Out from under there ! Out !" 

There was no answer. The camera man was a fair 
mark as he stood in the doorway. "It's he who's goin^ 
to be shot," thought Margot miserably. 

"Get out from under that bed," ordered Gene again, 
and advanced a few steps. "If you try any nonsense, 
I'll kill you." 

But the enemy did not come. The purpose in Gene's 
eyes become a concentrated fire. He dropped to his knees 
and the palm of one hand, peered and crept forward, his 
weapon aimed along the floor. As he approached the foot 
of the bed, Margot could see only the curve of his back. 
Thrilled by his courage, she was no longer afraid for any 
one, least of all for herself. 

Then Gene rose abruptly. A look of blank wonder had 
overspread his countenance. 

"Margot — why, Margot," he stuttered. "There's not a 
living thing under that bed !" 

She thought he had gone mad. "I saw a hand, I tell 
you, a hand," she cried shrilly. "It put out a match on 
the floor." 

He pushed the hanging coverlet aside, placed the read- 
ing-lamp onto the carpet and made a thoro survey. "Noth- 
ing there," he asserted briefly. 

Margot was out of bed with a bound. No consciousness 
was in either of them that she stood beside Gene in her 
nightgown. She, too, must look before she could believe. 



It was the landlady, Cora 
Bellew, who spoke first. 
"Oh, my God," she ex- 
claimed hysterically, "that 
crook's roaming thru my 
house. Find him officer" 



OTION PICTURR 

MAGAZINE p 



A minute later, she was forced to acknowledge that they 
were the only two persons in sight. 

Turning about dazedly, her forehead scored by three 
perpendicular lines between the eyebrows, she put her 
hand on Gene's shoulder. "Something was there," she 
said, with almost tragic earnestness. "When I 'phoned, I 
was in danger." 

"Of course, Margot, of course ! But it's O. K. now," 
he answered soothingly. 

She perceived that he was treating her as the victim 
of an unaccountable fit of hysterics, and her tone sharp- 
ened : "I'm not the kind who'd fetch you on a wild-goose 
chase. We've just begun to solve the mystery in this 
room. Get that !" 

If Gene had apologized, it would not have helped him 
so much with Margot Anstruther as the response he made. 
It was comprised half in his glance of loyal admiration, 
half in his words : "Right," he said briskly. "It's a job 
for both of us. You furnish the brains, and I'll do the 
scrapping that may turn up.". 

Margot's eyes welled with swift tears. "Oh, Gene, 
I'm not so clever!" she cried. "A couple of hours ago, 
I was telling you I didn't need any man's help. I wouldn't 
know what to do without you right now." 

She had leaned closer to him. Her red hair brushed 
his cheek, and as his arms slipped hungrily about her all 
barriers between them were broken down. Gene's lips 
found first her temples, then her shut eyelids, her quiver- 
ing mouth. She relaxed against him like a trusting child. 
An immense tenderness glowed in her flesh, and drove 
the last murky shadow of fear from a spirit that had been 
thru a somber ordeal. 

"You love me? You do love me, after all?" mur- 
mured Gene, pleading for the reassurance of words as well 
as caresses. 

"Looks like it, doesn't it — dear?" she conceded, her 
happiness a 
marvel that 
waxed slowly. 

But at the 
short, inarticu- 
late cry of pas- 
sion that broke 
from Gene's lips 
in reply, she 
withdrew defi- 
nitely from his 
arms. Her 
frown was not 
one of anger. It 
served simply to 
recall him to the 
facts of a situa- 
tion that de- 
m a n d e d a 
prompt and en- 
ergetic course. 

"If I'm ever 
to sleep in this 
room again, I've 
got to know all 
about that crea- 
ture who was 
under the bed," 
she declared. 

"Right," an- 
swered Eugene 
steadily. "Give 
your orders. 
What do we do 
first?" 

She stared 



broodingly at the carpet for an instant, then stooped and 
examined the spot where the match had fallen. "Look 
at this, Gene," she said, and pointed out that there was a 
distinct hollow in the nap, a hollow the size of the tip of 
a human finger, into which the black char from the burn- 
ing wood had been pressed and smudged. 

"That settles it," she snapped. "I wasn't just seeing 
things. No ghost could have made that mark. We'll call 
in the police." 

He picked up the telephone. "Shall I ring?" 

"Yes." 

He obeyed tranquilly, asking that two officers be sent. 

"Thanks," said Margot. "Now, I've got to change this 
nightgown for my gingham house frock. Cant venture 
into the bathroom, old dear. It might be tenanted. So 
shut your eyes and ears, and hold your revolver ready in 
case I have to throw shame to the winds and yell for help." 

Margot dressed rapidly, but she had barely adjusted the 
last hook when the banging of the front door and a heavy 
trampling downstairs announced the arrival of the police. 
They came up to her landing with a rush, and close at their 
heels scurried Mrs. Cora Bellew, the woman of the house, 
a retired actress, to whom an invasion by the law was 
a glorious sensation. 

Patrolmen Michael Quinlan and Shane Boyle stood each 
of them nearly six feet tall. Their pugnacious Irish faces, 
their broad, blue-coated chests and their nightsticks had 
the psychological effect of making the room seem about 
the safest place in New York. Safe, yes, for the moment, 
thought Margot, but none the less mysterious. 

Quinlan glanced sharply from the girl to Eugene 
Valery. "Speak up," he said. "What's been going on 
here?" 

"I'd turned in for the night," started Margot on a crisp 
note. "I carelessly threw a lighted match onto the floor, 
and as I looked to see whether it had gone out, a hand 

reached from 
t h e 







u n 
bed- 



e r 



"Your duty as I see it is to investigate." The blue- 
coats shrugged their shoulders. "Sure, we'll give the 
over," said Quinlan. "Never a sniff or the sign of a 
living soul will escape us, Miss" 



"Sneak thief, 
eh?" interrupted 
the officer. "Is 
he still around?" 

"I'm positive 
he must be." 

Quinlan 
lurched in the 
direction of the 
bed, but Margot 
halted him with 
a gesture. She 
told the rest 
of her story 
then, declining 
to be shaken by 
the expressions 
of doubt, the 
faintly scornful 
amusement, that 
showed on the 
countenances of 
both the police- 
men. When she 
had finished, 
Boyle remarked 
bluntly : 

"Sounds like 
a pipe dream to 
me." 

"It isn't any 
kind of dream, 
(Con. on page 90) 

45 
PAG 



t 



• 




$ 



HOT WATER 

The Best Comedy 

IT is just as easy to call a Harold Lloyd picture 
the best comedy of the month as it is to call it a 
day after you have put in eight hours of steady 
toil. This star has never been known to fail — and 
Hot Water will attract heavy patronage everywhere 
because the Lloyd person is a great architect of 
comedy. Here he has a scintillating number — one 
that furnishes him with a complete assortment of 
brand-new gags — and some old ones which have been 
refurbished so as to appear genuinely up to date. 

Like most of his other pieces, the action starts on 
high (which is Lloyd's way) and offers no let-down 
in its momentum. He believes in getting the laughs 
early — thus placing his audience in a most receptive 
mood for what follows in his scheme of things. And 
so he comes on the scene as a married youth trying 
to get home with an armful of bundles — the com- 
plications being developed as he tries to sit (or 
stand) in a trolley-car. Perhaps it is the first time 
that Lloyd has appeared in the opening scene as a 
victim of matrimony. No wooing here by a bashful 
lover. He's an easy-going benedict — so easy that he 
allows his wife to burden him with her exasperating 
relatives — the teasing li tie brother, the shiftless big 
brother — and worst of all — the nagging mother-in- 
law who would rule the roost. 

You call it an old idea? Well, you are right. But 
look how serviceable the mother-in-law joke has 
proved in vaudeville. Harold surely makes rich ma- 
terial of the aging Amazon. He breaks the con- 
ventions in drawing "mother" just a little bit 
different. Still, it took real character acting by 
Josephine Crowell to color it and make it real. 

The laughs? They mount from the moment that 
Harold takes his trolley ride and takes his family in 
his new car. The machine becomes a total wreck 

(Continued 

46 

oe. 



The Winners 

Selected and Reviewed 




THE SNOB 

The Most Human Story 

IN speaking of real intelligent pictures — those executed with 
adroitness and imagination, it is significant that Monta Bell 
has achieved a triumph in The Snob, the Metro-Goldwyn 
production. This man, Bell, has already won his spurs with 
Broadway After Dark, and his association with Chaplin in 
A Woman of Paris, brought him much of the comedian- 
director's gift of subtle expression. It has been treated most 
intelligently — not only from a technical standpoint, but also 
from the standpoint of human values. Apparently, the schooling 
he received from Chaplin has not been in vain, since there is 
complete evidence of subtle and suggestive treatment. 

There are no heavy thrusts here. Bell credits his audience 
with intelligence — and makes them enjoy it. Helen R. Martin's 
story, itself, is not new, but under his skilful guidance it appears 
refreshingly novel. It affords one moment after another of 
subtle humor, delicate pathos — and heart appeal which doesn't 
drip with saccharine sentimentality. We would call it a true 
study of human nature — a true portrayal of a genuine species 
in the life of America. It paints truthfully the domineering, 
self-satisfied social climber, the "bootlicker," who worships 
wealth and position. But more than that, it paints the deepest- 
dyed snobbery of all, expressed in the snob's ostracizing of his 
humble relatives — particularly, his shame of his own mother. 

The ingredients have been admirably assembled together — to 
make a perfect dove-tail of a pattern. The central figure 
mellows and grows — and it is a fine representation as portrayed 
by John Gilbert. He makes the character a true snob — who 
constantly fawns at wealth and casts aspersions upon his lowly 
relatives, who, true to custom, dress as Mennonites always 
dress. He "bootlicks" anyone with money. So he marries, 
but neglects his wife, ignorant of the fact that she is wealthy, 
until too late to do any good. 

The director in developing this character — and the others, 



shows us a sound knowledge of human nature, 
figure is out of focus with life. 



Not a single 



And the snob is convincing to 
the end — not sacrificed on the altar of conventions. 

There are several truly inspired touches — particularly those 

scenes in which the wife informs her husband of impending 

motherhood — and again when she realizes the futility of giving 

birth to a dead child. There is poignant depth for you ! And 

on page 97) 



of tke Month 

by LAURENCE REID 




HE WHO GETS SLAPPED 

The Best Drama 

THE selection of Andreyev's sardonic study of life for 
screen production has proved an extraordinarily happy 
venture in motion picture enterprise — thanks to a wholly 
fortunate blending of the art of playwriting, direction and 
acting. He IV ho Gets Slapped thus meets a far happier fate 
in its transfer from the stage to screen than is the lot of most 
plays. The benefits of this rare circumstance accrue as much to 
the screen patrons as to the producers — who will count in 
dollars a reward equal to the amount of pleasure this film will 
afford the devotees of photoplay art. 

The picture is a clean-cut score for Lon Chaney — who 
climbed to fame as a "master of make-up" and is now justifying 
his place in the sun of popularity with a display of an amazing 
skill in the delineation of character. It is, moreover, a credit 
to the intelligence and sound methods of the director, Victor 
Seastrom. Between these two, we are given a moving and 
beautiful rendition of the play. 

The merit of the play has been demonstrated and acknowl- 
edged in America thru the success of its production on the stage. 
It is the story of a scientist who turns to clowning with a circus 
after he has been robbed of the honors due him as the for- 
nicator of important scientific theories, and also robbed of his 
wife by the man who had posed as his friend. "He" determines 
to amuse the populace with his act of getting slapped, a per- 
formance which proved highly amusing when he asked for 
justice before the Academy of Scientists and at the hands of 
the wife on whom he had lavished his love. 

In the skilled hands of Lon Chaney, "He" becomes the per- 
sonification of the Andreyev character. As his most sensational 
display of emotional expression, we point to his depiction of be- 
wilderment and anxiety as his friend the Baron reads the paper 
prepared for the Academy. As the reading progresses and no 
mention of the scientist is made, it dawns on him that the Baron 
will pose as the discoverer of these new theories. But in every 
scene Chaney lives the emotions of the character and he rounds 
out a performance that ranks with the finest given the screen. 

The director has never permitted the irony of the play to 
touch the mark of bitterness and the result is a touching, warm, 
and, at moments, tender narrative. The atmosphere of the pic- 
ture has been created with a fine regard for theatrical effect and 




H 



THE TORNADO 

The Best Melodrama 

ERE is melodrama at its very best. Indeed, 
the picture belongs among those photoplays 
that provide incontestable testimony to the 
superiority of the screen over the stage as a vehick 
for this dramatic form. Realism and the spectacular 
scenic elements — bone and sinew of melodrama — are 
employed in a scale never even to be attempted 
within the four walls of a theater. 

For the sweep of its action and the tremendous 
power of its climax there is nothing more adequately 
descriptive of The Tornado than the title itself, 

The picture has been cast in the same mold which 
shaped such splendid examples of the melodramatic 
art as The Storm and The Signal Tower. It is the 
equal of those remarkable films in every respect and 
the superior in many. 

House Peters again proves his claim to the leading 
honors as an interpreter of these Homeric heroics. 
He is an actor who can perform the astonishing acts 
credited to these heroes without once suggesting the 
consciousness of self-superiority. A credible person, 
one whose very motives, even, loom up in the stal- 
warts he brings to the screen. 

The Tornado is provided with a commendably 
simple plot. It is the story of a man who seeks 
forgetfulness as a worker at a lumber camp. He is 
a rough, hardy character in a calloused community, 
but the measure of his sturdiness is not even traced 
until there is a climax in which he rescues the woman 
he had loved and who had married another, from a 
train swept into swirling waters by a tornado. 

This story Universal has depicted with a splendid 
economy of action. It is a concentrated study in 
action, with the march of events swinging along at 
that steady, vigorous stride of the inevitable. The 
climax is a marvel of camera work. The fire scenes 



(Continued on page 97) 



47 
PAG 



£11 






>>■ 



f 



i ?*»-- 



Reeling Witk 
Laughter 



->• 



' t ?v.. 



• 



Above, the Spats, three 
intrepid fox-hunters. 
Everyone's off but old 
Dobbin! The joke's 
on the hunters in- 
stead of the fox. 
Frank Butler, Laura 
Roessing and Sidney 
D'Allbrook, in a Hal 
Roach comedy 



"''Yes, we have 
no accident in> 
surance," sings 
Wanda Wiley 
(right) . Watch 
your step- 
ladder, Wanda! 
It's a new Cen- 
tury comedy 



sU 



..^- 



Meet the Gumps 
in the movies (be- 
low). "Fore," yells 
Chester and they're 
off down the par- 
lor fairway 



Ralph Graves forgot to ring up fares when Alice 
Day stepped aboard. He's Off His Trolley about 
her in his new Sennett comedy 



m 



r .£ ; -;- 



: ^i -lir ^ 



■- 



/ 



Ben Turpin mixed his dates as he mixed his costume 

and he's not sure just what happens next. But you can 

be certain he'll do what's expected of him, for he's a 

Reel Virginian 



A DEPARTMENT devoted to 

tne daily dozen for the funny- 
bone — getting it in practice for 
comedies soon to be released. 
An advance showing of amusing 
scenes from coming productions 




She's in love with a perfect 38, but Walter Hiers still 
thinks he has A Fat Chance, and is tipping the scales 
to prove it to the lady in his new Christie comedy 




We'd Like To See 



TK< 



em Again 

Favorites who left the screen at the height oi their success 



MARY FULLER 




E. K. LINCOLN 



In the good old 
days Mary 
Fuller was al- 
most as pop- 
ular as Mary 
Pickford, es- 
pecially in child 
roles. We are 
sorry she de- 
cided to give 
up her career 



Tho E. K. Lin- 
coin was in 
great demand as 
a picture hero, 
he deserted the 
films for a 
farm-de-luxe, 
and kennels of 
prize-winning 
chows 



Carlyle Black- 
w e 1 1 and 
Robert War- 
wick were the 
screen's "mat- 
inee idols" for 
many years. 
Now they are 
both starring 
on the legiti- 
mate stage 





ANN LITTLE 



MARGUERITE CLARK 





Never since 
Ann Little left 
the screen has 
there been a 
Western hero- 
ine so popular 
as she. And 
who has been 
able to take 
Marguerite 
Clark's place? 



"Broncho Billy" 
Anderson was 
the King of the 
screen when 
motion pictures 
were in their 
infancy, and was 
adored by all 
the girls 



Florence Tur- 
ner and Crane 
Wilbur were 
long idolized 
by the fans, be- 
fore they chose 
other careers. 
The one has 
just come back 
to us, but the 
other is still 
writing success- 
ful plays 




WILLIAM ANDERSON 



FLORENCE 
TURNER 



CARLYLE 
BLACKWELL 




I 



ROBERT WARWICK 





y 



CRANE WILBUR 



50 

G£ 



Shots from the First Fan Magazine 

Many of our early prophecies in regard to pictures and the industry have now come true 

F 









! 



/ 




OURTEEX years ago, while the movies were still 
shown in the back of stores — dark, ill-ventilated 
holes in the wall — and the pictures were shaky and 
t r emulous 
dancing things 
which hurt your 
eyes, Eugene V. 
Brewster, thru the 
pages of this maga- 
zine, was valiantly 

prophesying that the ■* - 

day was not far dis- 
tant when the people 
would pay at least 
one dollar for ad- 
mission to a glitter- 
ing Broadway pic- 
ture-palace ; and 
that this palace 
often would flaunt 
aloft the sign : 
Standing room only. 

"Motion pictures 
are the books of the 
masses and they 
have come to stay," 
reads the very first 
number of Motion 
Picture Magazine, 
February, 1911. 
"Nothing in ancient 
or modern times has 
taken such a hold 
on the public and 
the reason is not 
hard to find. Do 
the}- not supply at 
once education, en- 
tertainment, culture 
and gratification of 
all the emotions ? 
The motion picture 
will take its place 
among its sisters — 
poetry, drama, lit- 
erature, painting, 
sculpture, architec- 
ture and music — 
and form a staff for 
them all." 

An avalanche of 
protest in the form 
of Letters to the 
Editor from indig- 
nant Sunday-school 
superintendents fol- 
lowed the appear- 
ance of the first issue of Motion Picture Magazine. 
But the storm of indignation reached its crest when Mr. 
Brewster suggested, in an editorial, that Bible history 
might be most effectively taught to the children by show- 
ing the sacred stories in motion pictures in the churches. 

"It is indeed a strange notion that some hyperbigoted 
people seem to have," he wrote in 1911, "that in every 
motion-picture machine lurks a devil with red horns, 



tainting every film that runs across the lens. A motion- 
picture machine is no more out of place in a church than 
an organ. We must learn to distinguish between the use 

and abuse of a 
thing. 

"The world is 
slow to recognize 
the possibilities of 
the motion picture. 
It would be an in- 
teresting experi- 
fc ment if a dozen 

children should be 
taught by means of 
motion pictures all 
the school branches 
/ such as geography, 

' / history, botany, 

astronomy and the 
classics, and at the 
end of a year, then- 
education should be 
compared with that 
of a dozen other 
children who had 
been five years 
learning this by the 
usual methods." 




m 



& 



B 



A recent portrait-sketch of Eugene V. Brewster, who, fifteen years 
ago, had such supreme faith in the power of the motion picture as 
an art and an industry that he conceived the idea of publishing a 
magazine devoted solely to motion pictures. He was aided by J. 
Stuart Blackton and, in the face of bitter comment, and even ridicule, 
they brought out in February, 1911, the first fan magazine in the 
world, and thus blazed a new trail, which has since been followed 
wholly or in part by many other publishers 



ut, of course, 
the magazine, 
like the industry, 
had its staunch and 
loyal friends, who 
rejoiced in its ap- 
pearance and 
deluged it with let- 
ters of approval. 
R e present at ive 
people and leaders 
thru out the land 
were expressing 
their faith in motion 
pictures and openly 
approving them. Be- 
fore the magazine 
was a year old it 
quoted a statement 
of Jane Addams' 
under the title of 
"The speech that 
made Jane Addams 
famous." 

"The motion pic- 
ture," said Miss 
Addams, "is one of 
those peculiar mush- 
room growths in the amusement of a great people which 
has sprung up suddenly, somehow, no one knows how or 
why, and which has to grow because at rock-bottom it 
is too big and splendid to allow the little evil in it to con- 
trol and destroy it." 

From the very beginning the magazine sponsored the 

improvement of pictures, continually emphasizing the 

(Continued on page 86) 



51 P 



•^ 




The Story 1 of My Life 

"I wonder if many movie actresses have had 

the fun I have had making pictures. I've loved 

every mmute of the last twelve years" 



Henry Waxman 



At the left 

you see Miss 
Roland as 
she looks at 
the present 
time. At the 
bottom of 
the page you 
see her as 
she looked in 
her first pic- 
ture, called 
The Chance 
Shot 



ONE thing is certain. They will never tack a 
brass tablet, Birthplace of Ruth Roland. Visi- 
tors Admitted Between 2 and 4 Week Days, on 
the front of the three-story frame house in San 
Francisco where I entered the ranks of Native 
Daughters, for the main and simple reason that there is 
a fifteen-story office building standing on the spot now. 
All of which goes to prove I grew up with Hollywood. 
From the very beginning I always felt as tho I had 
several mothers. First there was my grandmother, born 
in Switzerland, who would tell me the mountain legends 
of her girlhood and sing me to sleep with Tyrolese 
lullabies. She could yodel beautifully, too. Yodeling 
takes a certain throat formation which I have inherited. 
I used to love to do it on the open ranges in my Western 
pictures, with the cowboys, when I was on location. 



ft 



<C^ 




My own mother I remember was very beautiful, and 
the one faded picture I have of her confirms me. She 
was a protegee of Adelina Patti and a concert singer 
whom the papers referred to as "The California Nightin- 
gale." When I was a tiny baby I had a nursery behind 
the scenes in the Columbia Theater where she was prima 
donna, and my father was manager, and — so her diary 
tells me, in pale violet ink — I never cried so long as there 
was music and 



bright 



lights 



to 




, M 





entertain me. 
My other 

mothers are my 

aunt Bertha and 

my aunt Edith, 

with whom I 

live now, the 

"Auntie" whom 

all my friends 

love. Not long 

ago Bebe 

Daniels, who 

has known the 

family ever 

since she was a 

little girl, started 

to introduce 

her to someone, 

and had to con- 
fess she had 

never heard her 

last name ! 
My father 

and mother 

separated soon after I was born, and I did not 
see my father until I was six years old, and 
then only as I might meet any stranger. But 
dont imagine that my childhood was forlorn ; I 
had too much to do to be lonely. I learned to 
talk before I was a year old. and at two I was 
reciting that classic of the Third Reader, Papa's 
Letter's Gone to God, to all the callers who came 
to the house, until I struck and said flatly that 
I wouldn't post Papa's letter another time. 

When I was two, my mother decided to try 
me with a juvenile "Cinderella" Company open- 
ing at the local theater. I was too small to use 
in the show itself so I was given a specialty act 
to do between scenes, a little skirt dance and 
two songs, They Wont Have Any Babies Like 
Me, and What Could the Poor Girl Do, Boys? 
Naturally, when the time came for my first 
public appearance, my mother was so nervous 
that she stood in the wings wringing her hands, 
but I sang and danced, and when they applauded 



Ruth at the age of six months 




I sang and danced all over again. I 
was having such a beautiful time that 
they had to send my mother out onto 
the stage, finally, to carry me off by 
main force ! 

As "Baby Ruth" I played in stock 
companies and vaudeville for five years. 
In long golden curls and white organdie 
ruffles I ascended to Heaven as Little 
Eva; in long, golden curls, velvet pants 
and lace collar, I was Little Lord 
Fauntleroy. I reunited stage parents, 
softened the hearts of stage misers, 
prayed by stage beds in calcium moon- 
light — always in long golden curls — and 
took it all as glorified play. 

When I was eight my mother died 
and I came to Los Angeles to stay with 
my Aunt Edith in a bungalow in an 
orange grove, where Hollywood stands 
today. But after the life of the theater 
it seemed pretty dull to play with dolls 
and have tea-parties with the next-door 
children. When I went back to San 
Francisco to visit some cousins, I 
slipped away from the 
house all by myself 
one morning and re- 
turned two hours later 

to announce serenely that I had signed a nine 

weeks' contract in vaudeville ! 

"Bub — but what will you do?" gasped my 

relative, gazing respectfully at the legal-look- 
ing contract I displayed. 

"Oh, that's easy!" said I; "I'll just sing 

and dance and things." And so I did, 

first in Indian costume, then in darky 

make-up. Already I was qualifying as 

a serial star in hairbreadth escapes 

from death. While I was acting in 

vaudeville I fell off the park merry- 
go-round (I must confess because I 

was looking around to smile at a little 

boy behind me!) and had to have 

fifteen stitches taken in me. Indeed, I 

have been sewed up so often that I 

would be beautifully embroidered if they 

had only done it with colored thread. 
A few weeks later — likewise while I 
over my shoulder at a 
street — a fat Dutchman 



flr.MOTION PICTURJ 

InBI I MAGAZINE 



As she looked in an 
early Kalem comedy 



Ruth when 
she was a de- 
mure child of 
thirteen 



was looking back 



little 



the 



boy on 
ran over me on 
a bicycle, 
knocked out 
several teeth 
and fractured 
my shoulder. 

Again, while I 

was exploring 

an abandoned 

house. I slid 

'own the banis- 



Important mem- 
bers of the 
Kalem crowd 
twelve years 
a g o — Mickey 
Neilan, Ruth 
Roland, and the 
director 




I 





In one of the roles that made her famous as 
the daredevil heroine of twelve-reel serials 



ters and, being old and rotten, they had splinters 
in them, and — well, I stood up to eat for some 
time afterward! 

But my worst accident was when I fell off the 
top of the bleachers at the circus and landed 
fifteen feet below astride a smvhorse. A 
small newsy, recognizing me, had greeted 
me with "Hello, Baby Ruth!" and a 
friendly slap on the back which upset 
my small balance and over I went, 
breaking five blood-vessels and sending 
so many women into hysterics that it 
broke up the performance. 
After this vaudeville engagement I re- 
tired into private life, and went back 
to Hollywood and to school. 
The movie houses of those days were 
characterized tersely by my aunt as 
"dumps" and I was not allowed inside 
one. Mary Pickford and Owen Moore 
were the reigning favorites and I used to 
stand entranced before the posters and 
imagine my own face among Mary's golden 

curls. It's a 
queer thing, but 
I have never 
. wanted any- 
thing in my life 
that I haven't 
had, sooner or 
later. (Just a 
moment please 
while I find 
some wood to 
rap on ! ) When 
I stood before 
those posters I 
used to want 
more than any- 
thing in the 
world to be in 

the pictures 

{Continued on 



page 96) 



53 
PAG 



I 



M 




Maurice Costello, the famous 

Vitagraph leading man, and his 

small daughter 



FEEL rather 
like one of those 
discoveries they 
unveil monu- 
ments to in the news 
reels. Still, I sup- 
pose that if Sir Isaac 
Newton hadn't hap- 
pened to sit down 
just under that apple, 
eventually somebody else would have discovered gravity, 
and if Columbus hadn't hocked Isabella's jewelry some 
other explorer would have happened across North 
America in the course of time. 

When Eugene V. Brewster and I issued the first copy 
of the first fan magazine, fourteen years ago this month, 
we had no idea what we were starting. My principal plan 
was to have some sort of medium in which to answer 
the questions people were constantly asking Vitagraph 
(without enclosing a two-cent stamp for a reply). 

"How do they make ghosts in the pictures.?" "Do you 
have to know how to act to be in the movies?" "Is 
Maurice Costello's hair really curly ?" — that kind of thing. 
I may as well add right here that the only difference 
between the questions the fans asked then and the ones 
they ask now is the name of the actor whose hair they 
are interested in. 

Dates, which are tiresome things when they concern 
the Phenician wars or the invention of printing, are 
fascinating to all of us when they are within the range of 
our own experience. In 1910 then, just a fifth of an 
ordinary lifetime ago, the motion pictures were an outcast 
profession, a poor relation of the theater. 



Movies Are Growing Up 

A comparison between the motion pictures of this day and 
of the early days when screen acting was an outcast pro- 
fession and the directors had to kidnap their stars 

By J. STUART BLACKTON 



Regular Broadway actors sneered at the "galloping tin- 
types." You can hardly blame them. The fourteen thou- 
sand cinema houses in existence at that time were practi- 
cally all of them "store shows," empty shops or warerooms 
with wooden chairs and a dirty white cloth screen at one 
end, in which an attendant went up and down the aisles 
squirting some violent smelling perfume every hour or so 
to enable the audience to survive the atmosphere. The 
five- and ten-cent admissions filled these places with labor- 
ing people, foreigners, toughs and hoodlums. The better 
class of audience could see motion pictures only as one of 
the acts in a vaudeville program. 

Bill Shea was our "kidnaper" at Vitagraph. His duty 
was to go over to New York when he wasn't needed as 
a sheriff in a Western, or to paint a "flat" curtain of a 
city street, or sweep out the studio, and plead, coax and 
bribe actors to come 
over to Flatbush and 
work in our pictures. 
Theatrical managers 
were throwing out 
dark hints that any- 
body who ever 
hoped to get a stage 
contract again would 
do well to keep 
away from the up- 
start cinema. But 
now and then — pos- 
sibly by force — Bill 
was able to bring 
back a recruit dis- 
guised with glasses, 





Above, Earle Williams and Anita 
Stewart, the popular screen lovers 
of Vitagraph, in a scene from The 
Goddess. At the left, a set from 
His Conscience, made by Lubin in 
1912 and considered one of the 
most magnificent interiors that 
had been filmed up to the time. 
Earl Metcalfe and Ormi Hawley 
are seated in the foreground; Earl 
Metcalfe is standing, in the center 



a fake beard, and a nom de plume. Charles Kent was the 
first legitimate actor to enter the despised profession of 
pictures openly, and it must be admitted that his real rea- 
son was not so much faith in their future but the loss of 
his speaking voice. 

In 1910 the eight leading companies, Selig. Biograph, 
Yitagraph, Kalem, Lubin, Melies, Essanay, and Edison, 
banded together, took out patents on all apparatus used in 
projecting pictures, and charged each "store show" two 
dollars a week for their use. Such ruinous taxation soon 
began to put the cheap little, smelly hole-in-the-wall places 
out of business, and theaters devoted entirely to pictures 
gradually took their place. Vitagraph, by the way, is the 
only name left in all that list, the oldest film company in 
existence. 

Cheap admissions put the pictures over in.the beginning. 
A workingman could take his whole family and still have 
change left from a dollar bill. Now, when most first-run 
houses charge eighty-five cents to two dollars for a seat, 
the audiences are undoubtedly higher class, cleaner, and 
there is no further need of the perfume spray, but I some- 
times wonder what is to be the end of this price-boosting 
both in production and in theater admissions. There are 
so many more people who have a nickel than there are 
those who have a dollar ! 

As a matter of fact, there are' still nickelodeon houses 
scattered thruout the small towns, where inexpensive pic- 
tures are shown and people know and love humble screen 
stars whose faces never appear in the fan magazines. The 
other day I saw a picture in Los Angeles for ten cents. 

The dingy, little 
theater is crowd- 
ed in between an 
orange-drink stall 
and a place where 
they sell Oriental 
jewelry, made in 
Fall River, Mas- 
sachusetts. They 
dont squirt per- 
fume in it — tho it 




t f 

Clara Kimball Young, as she 
looked when she played 
ingenue roles for Vita- 
graph. One of the Costello 
children is with her 




Above, are another famous pair of 
screen Romeo-and-Juliets, Francis X. 
Bushman and Beverly Bayne. At the 
right you can find Florence Lawrence, 
and the Moore boys (Owen standing, 
and Matt seated) in a scene from a 
picture released over ten years ago 



wouldn't hurt if they did. 
It is only a hundred feet 
away from Grauman's 
Million Dollar Picture 
Palace, with its orchestra 
of forty-seven pieces and 
uniformed doormen. But 
the whole distance trav- 
eled by the pictures in the 
last fifteen years is repre- 
sented by that short block ! 
In 1910, when I helped 
to launch the Motion- 
Picture Magazine on its 
career, the Vitagraph 
studio was the biggest in 
the business, having three 
stages covered with glass. 
Old Sol attended to the 
lighting. When he didn't 
shine, we didn't make any 
pictures. It wasn't until 
three years later that we 
took movies by artificial 
light and they were still shooting with natural illumination 
at Universal City in 1915. 

When I step out onto one of our immense stages now, 
with its sun arcs, its Kleigs, its spots and mercury tubes, 
making all of us who are not an inch deep in grease-paint 
look like corpses, I think of that little old sun-lighted 
stage with regret. Three-thousand-dollar-a-week stars 
spend half their time now sitting about waiting for 
sixty-dollar-a-week electricians to push and shunt and 
drag the various lights into place — at least, that's the 
feeling of the man who is signing his name to the salary 
checks ! 

In that old Vitagraph studio cleats of wood were nailed 
to the floor in the form of a triangle. What went on 
inside these cleats showed in the picture. If a man stuck 
an arm outside of them, it was pictorially amputated. 
The actors used to feel for the strips with their feet to 

make sure they were 
still in the picture. 

In 1910 we had a 
stock company of 
forty-five people at 
the studio, among 
them Norma and Con- 
stance Talmadge, 
Anita Stewart, Anna 
Q. Nilsson, Earle Wil- 
liams, Rosemary 
Theby, John Bunny, 
Flora Finch and — the 
Valentino of his day 
— Maurice Costello, 
with his famous dim- 
ples and his masculine 
beauty which won the 
hearts of more 
women than even 
Wallie Reid did, five 
years later. 

Except for Cos, 
every actor, camera- 
man and director 
hammered sets, ran 
errands, rummaged 
the neighborhood for 
props, and generally 
took the place of the 
(Continued on page 108) 

55 

PAG 




t 






h 




Presenting tke Queen of the 
Motion Picture Serial 



Above and at 
the right are 
new pictures of 
Pearl; at the 
left, a scene 
from an old film 



Photographs 

by 

Abbe 



! 



56 



Pearl White was the daring, dashing darling of the fans for 
all the years that she clung to the profession of screen 
actress. Now she's the hit of a sparkling revue on the 
French stage. You can see for yourself that her youth 
and spirit are eternal 




^M^ Qu7> 



Keen Comment by TAMAR LANE 

Illustrated hy Harry Taskey 



Read 'Em and Laugh 

XE of the most amusing ot recent event- was 
the publication of the income taxes paid by 
various personages prominent in the public eye. 
After a perusal of the figures given out, it be- 
anies apparent that Denmark is not the only country 
srhething is sour. It has always been a common 

slief in this country that John D. Rockefeller was one 
)f the richest men in the world — if not 

le richest ; and that J. Pierpont Morgan 

/as running him a close second for 

)nors. 
Banish the thought ! Rocke- 

;ller and Morgan are just moder- 

tely well-off, that's all. At least, 

:cording to the tax reports they 

irned in. For while John D. 

tated that it was necessary for 

im to pay a tax of only $124,- 
266.47, and J. Pierpont announced 
that his income tax amounted to 
only $98,643.67, our screen 
favorite, Douglas Fairbanks, paid 
the Government no less than 
$225,769.04. In other words, 
almost twice as much as the 
famous oil magnate and almost three times as much as 
the famous financier ! 

Even Thomas Meighan was forced to pay $51,239.97 
and Carl Laemmle, president of the Universal company, 
$50,249.89. Jack Dempsey, with a tax of $90,831.31, 
paid almost as much as Morgan. It strikes us that either 
the reported wealth of some of our noted millionaires is 
nothing but the work of ex-movie press-agents, or else 
our screen celebrities have not yet learned the knack of 
the proper way in which to make out an income tax 
report. 



make the premier comedian lose all interest in seeing 
his name in print, and if we are any judge of Chaplin, 
theatergoers can look forward to something very fine in 
the way of celluloid entertainment when the comedian's 
next film is released. 




Call It Anything But Good 

Paramount recently released The 
Story Without a Name. YVe saw it, 

and we dont wonder that they were un- 
able to discover a name for this 
strip of celluloid. As a matter of 
fact, if they had found a name for 
the thing, it would have been The 
Name Without a Story. This film 
is so bad it should make a lot of 
money. 



Rockefeller and Morgan are only moderately 

well off, according to the income tax which 

each of them paid as compared with that paid 

by some of our screen celebrities 



Charlie's Silence Means Something 



long and 



'or the past few months there has been a 
heavy silence from the direction of one Charles 

Spencer 
Chaplin. To 
those who 
know and 
a p p reciate 
Charlie's love 
of publicity, 
and how he 
delights to 
bask in the 
head-lines of 
the daily 
press, this 
means much. 
It is an im- 

Something is brewing in the brain of t v, 

Charlie Chaplin. Theatergoers may look ot business 

forward to his next film that will 



The Big Hollywood Auction Sale 

Tt is funny what strange ideas 
people have concerning Holly- 
wood and the motion -picture 
colony. For some reason or other 
the opinion seems to prevail that 
there is so much money in the film business that every 
studio member has a large bank-account and two or three 
Pierce Arrows to ride about in. 

Some jewelers came to Hollywood recently, took over 
a store, and started a big auction sale. I witnessed the 
sale on the opening night. The jewelers put up for sale 
such little trifles as $5,000 rings, S4.000 tiaras and S8.000 
necklaces. They must have thought everyone in the 
town was a millionaire. 

There were no bids received on these articles and they 
were tucked away back in their cases. A little later in 
the evening the auctioneers got more reasonable and they 
did a very good business in such Hollywood luxuries as 
thimbles at 50 cents and alarm clocks at $1.25. 




Eleanor Board- 
man to the Fore 
Again 

Wj, E N 

Elea- 
nor Board- 

m a n b u r s t 
upon the 
screen in 
her first 
i m portant 
role, she 
drew forth 
many pre- 
dictions for 
(Continued on 
page 110) 




We nominate Boy of Mine for the best 
film of 1924 and the $10,000 prize 

67 

PAfi 



t 



-r-l 





On the Camera Coast 



Even the parents of the Angus twins cant 

tell them apart. The thorn between the 

roses is Charles Ogle. They're watching a 

scene from Code of the West 




Nothing to do in Berlin but play 
Mah Jong! Mae Marsh and Carmel 
Myers were over there together, but 
not in the same picture. Mae was the 
star of Arabella, and Carmel of 
Garragon 




I 



Lefty Flynn, star of F. B. O., is just 

as handsome and just as left-handed 

as in his football days at Yale 

"Make yourself at home," said Owen 
Moore to Constance Bennett, point- 
ing to her forlorn dressing-room for 
Code of the West 



POLA NEGRI'S heart is broken again. The other day I went 
to call on the lovely Pola in her dressing-room on the Lasky 
lot. Her secretary came out looking scared and white and 
said that Pola couldn't be seen. . She added lamely that the 
reason was Pola had cold-cream on her face. But it appears that the 
cold-cream was around her aching heart. For at that moment, some- 
one else whispered hoarsely to me, "Come away; she has another 
broken heart." 

I dont know what was the trouble or who the swain this time. 
Keeping track of Pola's emotions is too fast for me. 

Anyhow, she went to a party the next night at Noah Beery's and 
was the belle of the ball ; so I guess the broken member was mended. 
Meanwhile, Pola gave a party herself at the Ambassador for 
Kathleen Williams, who is going back to the Orient for her third 
visit. This time she will spend five months in India, after short stops 
in Japan and China. 
Pola is doing some of the greatest acting of her career in East of Sues, 
which Raoul Walsh is directing, with Edmund Lowe as the leading man. 
The other day Pola did a big emotional scene, and when it was over she 
couldn't stop crying ; they had to carry her to her dressing-room. 
Certainly, life is not monotonous when Pola is around. 

In this same picture some of the finest acting 
I have seen for a long time is clone by 
some Chinese from Chinatown, most 
of whom never saw a studio, 
much less a motion picture camera, 
before. 



As this is written, the produc- 
-^*- tion of Peter Pan is nearing 
a close. Already they are begin- 
ning to worry what is to be done 
with little Betty Bronson. After 
playing this part of parts, they 
cannot permit her to do small ones. 
They are considering A Girl of 
France for her. 

The Peter Pan production 
nearly ended in a wholesale 
funeral the other day. They had 
a score or more of young children 
out in a pirate ship in the Santa 
Cruz Islands off the California 
coast when a storm blew up — the 
first of the rainy season. The ship 
snapped both anchor chains and 
drifted around all night in the 
storm-tossed channel, to the 
yowls of the children 
and their frightened 
mothers. The ship 
was far from sea- 
worthy and there 
was nothing to 
eat or drink 
aboard. When 
the storm 
finally abated, 
they found 
themselves in a 
cove of one of 
the islands, and in 
safety. Betty 
Bronson, as it hap- 
pened, was not on the 
ship at the time. 




Lew Cody signals "welcome home" 

on his return from England and 

France 







68 
Gi. 



r 



Harry Carrs department of news and gossip 
of the Hollywood picture folk 



[~\ouglas Fairbanks, Jr., has started his career again at the Lasky 
*"^ studio, this time playing small parts in various pictures instead of 
attempting to star; also this time without chewing-gum. It seems 
that when Doug, Jr., was playing in the studio before, gum was his 
undoing. They couldn't separate him from his cud. During the 
taking of one scene', the director had to wrench the gum away from 
him seven times. And what with the natural grief on both sides and 
the mental wear and tear and the nerve strain, the scene had to be 
retaken twenty-four times — which didn't help Dougie's career to any 
considerable extent. 



' I 'he huge box-office success of some of the recent animal pictures 
•*■ has brought back lions, tigers and other critters to the world of art 
once more. No studio is complete without a jungle. The other night 
they were using a lion in Dixie, which Reginald Barker is directing 
at the Mayer-Goldwyn-Metro studio. Being awakened suddenly from his 
beauty sleep and confronted by a battery of blinding lights, was too much 
for the king of the jungle. With a whoop or a yell or whatever it is that 
lions use by way of sound, the creature went straight up over a twenty- 
foot wire-meshed fence. It was a wonderful leap, but tame compared with 
the leaps that followed as cameramen, props, 
directors, etc., suddenly excused them 
selves. They 'phoned to the Culver 
City police station for help. Two 
cops, in a frenzy to arrive to the 
rescue, ran their car into a tele- 
graph pole and so got there late. 
When they arrived, the lion was 
nowhere to be found. The police 
hunted for him until daylight, 
when he meekly climbed into his 
cage. 

The other day I saw the lovely 
Madeline Hurlock working in a 
picture at the Sennett studio. 
She was in evening dress and 
was standing as still as a statue. 
She bowed with frigidity and 
care. At which point I happened 
to peer around the corner of her 
personality and saw an enormous 
lion sitting composedly on the 
train of her dress. 

"Aren't you scared?" I asked 
from a discreet distance. Miss 
Hurlock always speaks with a 
slow, deliberate voice. And so 
she said in her measured way, 
"No, I am not exactly 
scared, but I am not 
what you would call 
easy in my mind." 

Whenever you 
see a lion working 
on a set, you see 
also great dignity 
on the part of the 
actors and stage 
hands. No 
bustling to and fro. 
The reason for this 
is that safety lies in 
standing still, as it 
were. The only dan- 
gerous thing you can do 

(Continued on page 88) 




Charles Horton, ninety-three-year-old mil- 
lionaire, sells peanuts to keep young. His 
customers are Jack Pickford and Ann May 








Here's our Doug, side by side with 

Spanish royalty, the Duke of Alba, 

who recently visited Hollywood 



Edmund Lowe 
(below) often 
takes the air for 
recreation. He is 
a skilled aviator 
as well as a star 



Warner Baxter didn't realize Betty Compson 

was a sculptress till she "did" him during 

the Garden of Weeds 





At the left we have Maurice Elvey, the 
famous English director, advising Shirley 
Mason in her latest starring vehicle, The 
Scarlet Honeymoon. In Curly-top, which 
she has just finished, she wears a blonde 
wig 



69 P 

PAGli 



An Original Picture 

and 
An Original Director 

The picture is The Salvation Hunters, and Charlie Chaplin 

calls it "a marvel of composition and rhythm.'' The director 

is Josef von Sternberg, and this is his first picture 






Above is Nelly Bly Baker who plays 
"The Woman" in The Salvation Hunters. 
She first was brought to the attention of 
motion-picturegoers by her interpreta- 
tion of the masseuse, a role which was 
given her by Charlie Chaplin in his 
Woman of Paris. Wjth Miss Baker, in 
this new picture, is only one other star 
well known to American fans, Stuart 
Holmes, who plays "The Gentleman" 



ywfc. 



Above, at the left of 
the group, is Josef 
von Sternberg himself, 
the author and director 
of The Salvation 
Hunters ; at the ex- 
treme right is George 
K. Arthur, who plays 
"The Boy." Douglas 
Fairbanks, whom you 
surely have recognized, 
is in the center. Douglas 
and Mary are so ex- 
tremely enthusiastic 
over Mr. von Stern- 
berg's work that he has 
been signed by Miss 
Pickford to direct her 
next picture, which 
they hope will be an 
original story, some- 
thing different and yet 
something very human 



At the left is another scene 
from Mr. von Sternberg's pic- 
ture, giving you a glimpse of 
two other characters in the 
cast which numbers only seven. 
"The Man" is Otto Matieson; 
"The Girl" is Georgia Hale 



Trailing the 
Eastern Stars 

News and Gossip from 

DOROTHY HERZOG 



LILA LEE is as happy as a lark working opposite 
Tom Meighan in his new picture, Coming 
JThrough, at Paramount's Long Island Studio. 
The last time Tom was on the Coast, he induced 
Lila to return to the screen as his leading woman in this 
picture and Lila agreed. 

Shortly after the arrival of the new member to the 
James Kirkwood family, the entire family came East, 
Jim to commence rehearsals in David Belasco's produc- 
tion of Ladies To Wait. 

There was considerable excitement in the Meighan unit 
when negotiations for Lila's services seemed headed for dis- 
aster. A matter of money and, anyway, Jim didn't exactly 
approve of Lila's working so soon after the baby's arrival. 
But everything is O. K. now and everybody happy. In addi- 
tion to Lila, Tom's supporting cast includes Wallace Beery. 
Larry Wheat and Frank Campeau. 

"Dauline Garon, friskiest of screen flappers, is expected in 
•*■ New York. Having completed several pictures on the 
Coast, Pauline is due in Paris soon to start work on a melo- 
dramatic thriller by the author of Twenty Leagues Beneath 
the Sea, which will be directed by Leonce Perrett, who put 
Gloria Swanson thru her dramatic paces in Madame 
Sans-Gcne. 

Pauline admits Paris is a nice "little town" and it will be 
nice to go back for a brief stay. Last time she was abroad 
a German producing concern signed her up at about three 
thousand dollars a week for a picture with a name we con- 
fess we cant spell! But Pauline cant hand Germany much. 
and she vows she'll never make another picture in Teuton- 
land — not for all the marks in the world. 

C~*)ne hears so much about Conway Tearle. And justly so. 
^^ If you love him in pictures you'll fall even harder if 
you meet him personally. But his wife is a dear, too — Adele 
Rowland, vaudeville artist and head-liner. 
When we asked Mrs. Rowland why she 
never went into pictures, she made 
a droll face and retorted : "Why, 
in pictures you're not sup- 
posed to be over twenty 
two. I'm twenty-three, 
you see." 

f~\ f course, Nita 
^^ Naldi is now on 
the Coast, but we 
must invade Western 
territory to tell a 
good diet story. 
When Nita returned 
from abroad with the 
Yalentinos in Novem- 
ber, she had the slim 
figure of a Peter Pan. 

"My dear, how did you do 
it?" gasped the curious ones, re- 
membering her former avoirdupois 




_ Underwood 

Mrs. Rudolph Valentino, a gentleman in disguise, and Nita 
strolling up Fifth Avenue 





A bit of good old 
Scotch was brought 
to America for Doro- 
thy Dalton, stage and 
screen star. The item 
in particular is a new 
French Voisson car, 
painted in Scotch 
plaid and the only 
model of its kind 
here. It was a gift 
from her husband, 
Arthur Hammerstein, 
who is shown with 
Miss Dalton 



Gilda Grey, the famous 
Queen of tbe Shimmy, 
has just signed a con- 
tract to do a series of 
pictures this spring 
in Paris 






71 
PAG 



I 









f 



"sMOTlON PICTURp 
Bl I MAGAZINE *- 




Redskins from 
the Onondaga 
R e ser vati o n 
arrived in New 
York to take 
part with 
Thomas Mei- 
ghan in a Wild 
West picture 

At the right you 
find Marjorie 
Daw sailing 
Southward to 
avoid the North- 
ern chill. Be- 
low, you witness 
Bebe Daniels 
accepting the 
chairmanship of 
the actresses' 
committee for 
the World 
Peace Christ- 
mas cards 



International Newsreel 




Nita smiled and valiantly defeated a tendency to boredom. 
"Spinach," laconically. "I breakfast on imagination. Lunch 
on spinach, and sup on spinach." Saying which, she non- 
chalantly stepped upon a conveniently handy scale and nodded 
at the one hundred and twenty-nine pounds it registered. 

"Dobert Frazer has a hobby. He confesses. Bob adores 
■"-^" tinkering with radios. No, he isn't keen about radios as 
radios, but he relishes rigging up an outfit in an obscure kind 
of place — like a piano bench, or something of the sort. In 
Hollywood, Bob told us when we breezed in to see him while 
he was playing" opposite Bebe Daniels in Miss Bluebeard, he 
has a spacious workroom, where he keeps all sorts of para- 
phernalia suitable to radio dickering. 

Anybody can get Dick Barthelmess' "goat" these days. 
■^* Honest, it's a fact. In New Toys, his new picture, there's 
a shaggy old goat that plays a part in the story and a playful 
electrician, to whom the goat took an unreasonable fancy, got 
Dick's goat. But only for a minute. Director John Robertson 
ordered the contrary actor back oh the set, an order executed 
with difficulty — but executed. 

"p spied Wallace Beery the other day partaking of nourishment 
J- ' by his lonesome at the Algonquin Hotel (the mecca of 
movie celebs in N. Y. C). Wallie had just completed a day's 
work as the heavy in Tom Meighan's new picture, Coming 
Through, now in production under Eddie Sutherland's direc- 
tion at Paramount's Long Island Studio. 

"Did you bring your wife with you?" we hailed. 
"No," flourishing a fork, "she's in Hollywood." 

"Working in pictures ?" 
"Oh, no," corralling a slippery 
carrot, "no, she isn't going to work 
in pictures. I lost one wife that way 
(Gloria Swanson, you know) and 
I'm not taking any more chances." 



B 1 




Wide 
World 



en Lyon is a most amusing 
youth. Everybody likes Ben. 
He just finished work with Anna Q. 
Nilsson in The One Way Street, 
directed by John Francis Dillon at 
the Biograph Studio. Trailing up to 
the studio one day, Ben caught sight 
of us and insisted we pose with him 
for a photograph. It was terrible. 
We haven't the nerve to look at it. 

However, quoth Ben : "The last 
time I was in Hollywood, there was 
a girl who accosted me every time I 
left the studio to ask, with tears in 
her eyes, for an autographed photo- 
graph of myself. Well," shrugging, 
"I couldn't bear to see her sad, so I gave her the picture in a hurry. 
But after the fifth one, I stopped to question her: 'See here. I 
dont mind giving you an autographed picture, but why the whole- 
sale order?' Whereupon, with tears glistening in her eyes, she 
quavered : 'You see, a girl friend in my block agreed to give me 
an autographed picture of Ben Turpin if I gave her six of 
you!'" 

"V/Tilton Sills, who has just started work in his new First 
-*- ■*■ National starring picture, U. S. Flavor, by Richard Kirk, 
is a one-hundred-per-cent. New York booster now. When he 
came on to the Big Town to co-star with Doris Kenyon in The 
Interpreter's House, he disliked the need of making the picture 
in the East. Once here, however, with the many new Broad- 
way plays and the art and literary interests of the metropolis, he 
capitulated completely to its charm. Now, he wants to make 
all his pictures here. 

(Continued on page 100) 



About New Productions 



The Silent Accuser 



Another dog-day has arrived for wintry weather. And 
"^^ patrons attending a picture theater to get out of the cold 
will become thoroly excited over a new police dog, Peter the 
Great. The film is nothing but a vehicle and any one attempt- 
ing to find logic and reality would be blind to its canine 
appeal. It simply wont stand analysis for a plot, as events 
transpire here which lack any motivation. So it should be 
accepted as a dog story. There is found the entertainment. 
Peter can raise a good and lusty bark over his performance. 
He shows uncanny intelligence and the director has seen to 
it that the dog never steps out of character by assuming to 
grasp the faculties of the human mind. Pete's 
life is guided by instinct. 

It is the dog's job to rescue his master from 
jail (a trumped-up charge) and track down the 
real murderer. And these scenes provide a 
quota of thrills. It is all dog — is this story. 
The animal furnishes all the action and suspense. 

The Fast Set 




Tt all depends upon whether you've seen the 
A original, if you like this adaptation. If you 
have seen it as Spring Cleaning, you must admit 
that it is much more sparkling and bright. If 
you haven't seen the play, the picture will please 
you. The dialog had much to do toward mak- 
ing it successful in the spoken version, inasmuch 
as there was little action. So in order to make it 
adaptable for the screen, the sponsors have been 
compelled to substitute this precious element. 

William de Mille, however, has given the pro- 
duction some of his artistic direction — which 
makes it skip and hop about with a semblance of abandon. With 
the aid of Clara Beranger he has substituted some peppy subtitles 
for the original dialog. The story treats of the unusual frankness 
of a husband in introducing a woman of the streets into his home 
to save his wife from a bounder. The picture is delightfully acted 
by Betty Compson. Adolphe Menjou (you couldn't keep him out 
(Continued on page 101) 



At the left, is our old 
favorite. Harry Carey, in 
a scene from a good old- 
fashioned melodrama 
called Roaring Rails 




There's tense 
drama and a con- 
sistent flow of ac- 
tion in The 
Border Legion, 
with Helene 
Chadwick and 
Rockclif fe 
Fellows 



Florence Vidor's 
work as the neg- 
lected wife makes 
Christine of the 
Hungry Heart a 
picture well worth 
seeing 






A quartet of good 
players — Pauline 
Frederick, Mae 
Busch, Conrad Nagel 
and Huntley Gordon 
— make Married 
Flirts fine entertain- 
ment 



There's old stuff, 
and entirely too 
little suspense in 
The Great Diamond 
Mystery, but you'll 
like Shirley Mason 
and William 
Collier, Jr. 



75 

PAG 



t 



J^_ 




W+/CJU 



W*A/&yT~<? 




Will March Come In Like a Lion? 

Tt will ! We are weather prophets! At least, we are for 
that particular month, for Ben Lyon will be on the 
cover of Motion Picture Magazine for March. It 
will be a handsome head of your hero, the lad who today 
is acknowledged to be the Flappers' Delight. At. the 
request of many of our readers we have removed the 
price-stamp and the date from the body of the cover, 
and put them at the top instead, so the portrait of Ben 
is all ready to frame and hang above your pillow to bring 
you happy dreams. 

New Year's Resolutions? 



Like Our Anniversary Number? 

"^"othing quite like it has ever been put on the market 
■*"^ by any screen magazine. In order to get it, we 
scoured the studios from coast to coast for old pictures 
and reminiscences of the days when the movies were just 
beginning, a stepchild industry. We pestered the stars 
of a decade ago till we made them tell tales on themselves, 
and dug up stories they thought were safely buried for- 
ever. Look carefully at their pictures — you'll laugh, and 
agree with us that all of them still alive look much 
younger today than they did fourteen years ago. 

Shaven or Whiskered? 



"P\id you make any 
-"-^ yourself ? And 
are you going to 
keep them? "I re- 
solve, etc." — broken 
the next day — per- 
haps the same day. 
Read the resolutions 
of the biggest stars 
in screendom, 
given in their own 
handwriting on 
pages 30-33. Write 
us what you think 
are the chances they 
will keep them for 
a month. Can you 
suggest more help- 
ful resolutions any 
of them might have 
made? If so, pass 
them on to us. 

Did You See It? 

Aur brand-new 
^-^ roto insert, of 
course, the eight 
new picture pages 
in the middle of the 
book. 

This new section, 
added to the sixteen 
rotogravure "pages 
that we always have 
included, makes 
Motion Picture 
Magazine (edi- 
torial matter prop- 
er) the biggest and 
finest of all the 
screen magazines. 
Henceforward this 
new section will ap- 
pear regularly. 
Watch for it. 
76 

Gi. 



Is a Movie Hero Really as Brave as He Looks ? 




If we are to believe what the screen 
tells us and shows us about our fa- 
vorite daredevil hero, Big Bob West, 
then we know that there never lived 
a man braver and nobler than he 



He leaps from one 
hazard to another 
without even muss- 
ing his hair. He 
climbs a sky- 
scraper or a rocky 
cliff like a human 
fly, and does wild 
tricks in his puddle- 
jumper. He acts 
as tho the word 
"fear" just wasn't 
in his vocabulary 

BUT 



He is just scared to 
death of his wife 






"V\7"hich way do 
vv you love him 
more? Turn to 
page 22 and decide. 
Nothing since the 
bobbed-hair craze 
has created a greater 
furor than the news 
that Rudy has 
grown a beard ! To 
do it, he fled far 
from the maddening 
throng to his villa in 
Italy. Now he is in 
California making 
The Scarlet Power, 
in which he is the 
bearded hero, for 
some of the scenes. 
Do you prefer him 
with or without? 

Did You Read It? 

"K/Teaning "Them 
1 L G o o d Old 
Days" ? In which 
the Answer Man 
reminisces, on 
page 62. If you 
didn't, you missed 
one of the most in- 
teresting features of 
the month. All 
about the days when 
the movies w ere 
young, even tho the 
Answer Man was 
already old and 
whiskered ; when 
stars worked for 
thirty-five dollars 
a week, or less, 
and didn't get their 
pictures in the 
papers. 




Advertising Section 



du Diana Manners 






Ml -JDTTiON PICTU 

101 I MAGAZINE 



l 



the mo§t beautiful woman of English 
Aristocracy praises this care of the skin 



"Seauty is the touchstone of life. So, for 
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Pond's Method, by using Pond's Two Creams." 



fy<vu* h. 



OAAAA-LaJ> 






The Lady Diana Manners is the most beautiful 
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Beauty is in her blood. Dorothy Vernon of Haddon 
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Lady Diana's beauty sets the pulses racing, the im- 
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The modeling of her face, the lift of her head, the 
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hundred earls." But the glint of gold in her hair, the 
starry blueness of her eyes, these touch the heart- 
strings, being heaven sent. 

And the lily's own petals are not more snowy-white, more satin- 
soft, than Lady Diana's skin. As a great English artist who painted 
her said, "she has the most beautiful complexion in the world." 

How Lady Diana Keeps her Beauty 

Lady Diana — whose creed is, "Beauty is the touchstone of life" — 
knows the need of keeping all her own beauty untouched by wind 
and cold, the harsh lights and make-up of the theater, and the late 
hours of her exacting social life. So she bathes her face and neck in 
cold cream and protects them with a delicate finish provided by a 
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For, like so many of the beautiful women of England, of America, 
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may. The Pond's Extract Company. 



EVERY SKIN NEEDS 
THESE TWO CREAMS 




Maurice Goldberg 




The .(>dy Diana JWanners, daughter of the 
eiglith Duke and Duchess of Rutland, is not only 
the darling of the most exclusive society of two 
continents — "England's best Ambassador in 
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she is an actress of proven distinction. The 
small picture, from a drawing by her mother, 
shows her as The Madonna in " The Miracle." 



r»t?T? r» CDOn Mail this coupon and we will 
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Name 

Street 

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.State. 



When you write to advertisers please mention MOTION PICTURE MAGAZINE. 



77 
PAG 



I 



Letters to the Editor 



Were They the Good 
Old Days? 

Dear Editor : Since Mon- 
sieur Beaucaire came to town, 
everything has changed. The 
ladies' skirts take up more 
room than a circus tent and 
the men are wearing silks and 
laces. The cabarets have 
closed because everyone has 
sore ankles from being 
whacked by dangling swords ; 
two bus lines have gone bank- 
rupt, they can carry only one 
Pompadour per seat. The ele 
vators have a waiting list four 
miles long ; yesterday a wom- 
an dressed like a queen ran 
for a street-car ; she missed it. 
The stenographers have all lost 
their jobs, they cant get near 
enough to their typewriters 
to work. Half the city has burned down while the fire department 
put out fires on ladies' wigs ; the women will smoke, you know, 
and are used to doing it in bobbed hair. Potential Jackie Coogans 
are weeping loudly, for rags are no longer popular ; no more 
Soviet reds or Santa Clauses ; whiskers fail to intrigue. Gone 
is the glory of the military uniform, every man looks like a 
Christmas tree ; married couples no longer play bridge, they fight 
with swords instead. 

The beautiful and elaborate costumes of Beaucaire's day are 
mighty pleasing to the eye when looked at from afar and the 
slow grace necessitated by wearing them is quite all right on the 
stage or in dreams. But save us from the hypersentimentalist 
who pines and sighs that the dress and manners of today aren't 
what they used to be ! In our crowded" world we haven't the 
room and in our great hurry to live we haven't the time to bother 
with them. And, strange as it may seem, in spite of our drab 
feathers and our bad manners, we manage, somehow, to have a 
prettv good time. 

M. C. S., 
Washington, D. C. 

From the Land of the Midnight Sun 

Dear Editor : Going to the movies in Norway is quite a differ- 
ent experience from going to them in America. 

Moton pictures are very popular all thru Norway ; even very 
small towns have their picture theaters, but these theaters, instead 
of being the palatial ones we know over here, are usually the 
"lokalen," or community hall where meetings and dances are 
held. It took me several days to discover the movie theaters in 
Christiania, for the entrance to them is, as a rule, merely a long 
corridor leading back 



"\"\ 7E are giving our readers a chance to 
" ' express their opinions in print, ana 
to be paid for it. For the best letter (which 
we will illustrate) we will pay five dollars. 
Writers of other letters published will re- 
ceive three dollars ; extracts from letters, one 
dollar. Be brief, and to the point. Write 
us a snappy, interesting letter of from two to 
four hundred words in length. Give your 
reasons for your likes or dislikes. Do not 
neglect to sign your name and address, altho 
we will use your initials only, if requested. 



from the street to the 
theater proper, which is 
built in the rear of a 
commercial building. 

American -made films 
are shown almost ex- 
clusively and Para- 
mount pictures more 
than the others. How- 
ever, the names of the 
productions are so 
changed as not to be 
recognized. For in- 
stance, W h ere t h c 
Pavement Ends was 
called Tzvo Persons, and 
To Have and To Hold 
was shown as With' 
Sharp Weapons. 

During my entire so- 
journ in Norway I saw 
only one Swedish pro- 
duction and that was a 
study in unadulterated 
gloom. On shipboard 
I saw Sumuran, the 
last picture Pola Negri 
Q\madc in Germany. It 

f78 

JA££ 



The stenographers 
have all lost their 
jobs; they cant get 
near enough to 
their typewriters 
to work 



was interesting but badly cut. 
It was saved by Ernst Lu- 
bitsch as the hunchback ; he is 
just as good an actor as a 
director. Jenny Hasselquist, 
a very popular Swedish star, 
appears in this picture, but 
her bad make-up and the bad 
lighting detracted much from 
her charms. Pola was her 
old self, but the story is not 
a pretty one and would have 
to be purified a great deal 
before it is shown in America. 
After seeing this film I can 
understand the need for 
censors. 

On a train from Bergen I 
met members of a German 
film company on location in 
Norway. None of them are 
known in America, but the 
height of their desire is to 
come here. The director, who was also leading man, and a clever 
stunt actor, told me that if he could earn ten dollars a day acting 
in American films, he would sail at once for the U. S. A. Such 
salaries as even an extra gets in this country are unheard of 
over there. 

One member of the company was a clever little girl of three 
with all of Jackie Coogan's sparkle. Another was a trained dog 
whose tricks were truly remarkable. The leading lady was a 
beautiful German girl whom I thought quite on a par with our 
American actresses. 

Motion- Picture Magazine is easily obtainable in Norway and 
widely read. 

C. O. H., 
Chicago. 

The Friendly Growler 

Dear Editor : Dont take me too seriously, but there are a few 
explosives I must get off my chest, concerning your admirable 
magazine. 

First, why do they call Novarro a "sheik" ? The man is 
primarily an actor and a great one at that. Minus his beauteous 
locks' and classic features, he could play the part of an old man 
as well as a young hero. So why desecrate him with the title 
of sheik? 

Second, I'm weary of hearing that absurd, plaintive cry, "What's 
wrong with Pola Negri?" They say she falls short of some- 
thing or other in every picture, yet, given identical parts with 
Mary Pickford, Gloria Swanson and other celebrities, she actually 
outshines them. I refer to Mary's Rosita and Gloria's Humming 
Bird as versus Pola's Spanish Dancer and Shadozcs of Paris. Of 

course, Pola may have 
lost out a bit because 
she seemed to be fol- 
lowing right on the 
heels of the other two 
actresses, which was 
bad taste, to say the 
least. But that was the 
fault of the producers. 
What is the matter 
with the m, anyway ? 
Have they developed a 
contest complex ? Dont 
they realize that to ex- 
hibit each his particular 
star in the same sort 
of picture can only 
hurt each one of them ? 
As for Miss Negri's 
taste in clothes — if that 
is indicative of all Po- 
lish women's idea of 
good dressing, I think 
we would better go to 
Poland instead of to 
Paris for our styles. • 
Next, why do most 
stars "over-make'' so? 
(Continued on page \22) 




Advertising Section 



dT.MOTION PICTURI 

Itl0l I MAGAZINE 



How Famous Movie Stars 

Keep their Hair Beautiful 



I 



Try this quick, simplemethod 
which thousands, WHO MAKE 
BEAUTY A STUDY, now use. 

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Note how it gives new life 
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See how soft and silky, bright 
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THE attractiveness of even the most 
beautiful women depends upon the 
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The hair is a frame or setting upon 
which the most beautiful, as well as the 
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Fortunately, beautiful hair is no longer 
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You, too, can have beautiful hair if you 
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Proper shampooing is what makes it 
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agreeable to the touch, it is because your 
hair has not been shampooed properly. 

While your hair must have frequent 
and regular washing to keep it beautiful, 
it cannot stand the harsh effect of ordi- 
nary soaps. The free alkali in ordinary 
soaps soon dries the scalp, makes the hair 
brittle and ruins it. 

That is why leading motion picture 
stars and thousands of discriminating 
women, everywhere, now use Mulsified 
cocoanut oil shampoo. This clear, pure 
and entirely greaseless product brings out 
all the real beauty of the hair and cannot 
possibly injure. It does not dry the scalp 
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If you want to see how really beautiful 
you can make your hair look, just follow 
this simple method. 

A Simple, Easy Method 




it in thoroughly all over the scalp, and all 
through the hair. 

Two or three teaspoonfuls will make an 
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After rubbing in the rich, creamy 
Mulsified lather, give the hair a good 
rinsing. Then use another application of 
Mulsified, again working up a lather and 
rubbing it in briskly as before. After the 
final washing, rinse the hair and scalp in 
at least two changes of clear, fresh warm 
water. This is very important. 

Just Notice the Difference 



THIRST, wet the hair and scalp in clear, 
*■ warm water. Then apply a little 
Mulsified cocoanut oil shampoo, rubbing 



YOU will notice the difference in your You can get 
hair even before it is dry, for it will Mulsified cocoanut 
be delightfully soft and silky. The entire oil shampoo at any 
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it through your fingers. 

After a Mulsified shampoo you will find 
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Patey 
Ruth 



a Mulsified cocoanut oil shampoo. This 
regular weekly shampooing will keep the 
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goods counter, 
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A 4-ounce bottle 
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When you write to advertisers please mention MOTION PICTURE MAGAZINE. 





! 



Carl A. — Yes, this is the 
anniversary number, and I 
have been serving you all 
with answers for the last 
fourteen years. Even tho 
I am eighty years old, I 
think I can serve you a 
little longer. Lionel Barry- 
more is playing in The 
Street Singer for Chad- 
wick Pictures. 

Mary E. C. — No, my 
dear, you have me wrong. I am really a lamb in wolf's clothing. 
Thomas Meighan was born April 9, 1884. Ramon Novarro was 
born February 6, 1898, while Richard Barthelmess was born 
May 9, 1895. Miss Dupont was Margaret Armstrong. 

Gerry. — Yes, it is true that Thomas Ince, the 
director, died November 19, 1924, of acute in- 
digestion. It was a shock to the industry. 
Rudolph Valentino is anxious to play the 
lead in a screen version of The Fire- 
brand, in which Joseph Schildkraut is 
playing the lead on the stage. Valen- 
tino's next picture will be The Scarlet 
Pozver. Yes, Buster Collier is some- 
times called William, Jr. Norman 
Trevor and Ben Lyon in Wages of 
Virtue. 

Sophola.— That's a good one, but why 
is an author a queer animal? Because 
his tale comes out of his head. Whopee ! 
Alice Taafe is Alice Terry's right name. 
Write me again some time. 

Haul M. — Jane Novak can be reached 
at the F. B. O. Productions, and Norma 
Shearer at Metro-Goldwyn. 

Lily Lee. — Well, as they say in Green- 
wich Village, you are not truly sophisti- 
cated until you wish you could forget 
most of the things you know. Yes, Ben 
Lyon is twenty-three. Wait until you 
see him on the cover next month. Yes, 
I think Richard Barthelmess will send 
you his picture. Why dont you write 
him. 

Fluff. — Sure, I was glad to hear from 
you, telling me all about the kiddies. Well, 
you know that Pat O'Malley has red 
hair, so that accounts for it. As some- 
one once said, opportunity seldom knocks 
in a small town, but the neighbors make 
up the difference. 

Sally Foote. — Lloyd Hughes is with 
First National, and he is twenty-five. 
Robert Agnew is twenty-five and he is 
with Metro-Goldwyn in The Square Peg. 
I should say Clara Bow is kept busy. 
She is playing in The Adventurous Se.v 
and then she is going to play in Capital 
Punishment and after that in The Boom- 
erang. 

Homer W. K. — That sure was a gem 
of a letter. Cullen Landis has a sister, 

80 



This department is for information of general interest only. Those 
who desire ansivers by mail, a list of film manufacturers, etc., 
must enclose a stamped, addressed envelope. All letters should 
contain the name and address of the writer, but a fictitious name 
will be used in answering inquiries if it is written in the upper 
left-hand corner of the letter. Address: The Answer Man, 17$ 
Duffield Street, Brooklyn, N. Y. 




Rah Rah Boy: — You're wrong. 
Mary Hay doesn't play Barrie's Peter 
Pan. But there's a Peter Pan episode 
in her picture, New Toys, and here 
she is in costume, with her husband, 
Dick Barthelmess 



Margaret. Didn't you know 
that? 

R. E. U.— Well, in 1890 
it was Wine, Women and 
Song, in 1924 it is Moon- 
shine, Flappers and Static. 
No, I haven't a radio yet. 
My neighbors all have 
loud speakers. You can 
address Valentino at the 
Ritz-Carlton Co., 6 West 
48th St., New York City. 
Chickie. — Glenn Hunter in The Silent Watcher. Gareth Hughes 
is in California. Yes, I, too, dislike ranting. That player cer- 
tainly weeps too loudly. You know the silent appeal has the 
greater reach. Try it some time. 

Margie. — We have a new. dog actor about to 
make his bow to the public. He is a Vita- 
graph star, his name is Wolf, and he was 
awarded the Croix de Guerre by Joffre. 
He is to be starred in the Curwood novel, 
Baree, Son of Kazan. Richard Dix is 
with Famous Players. 

Norolk; M. B. M. ; Billy; Monte 
Blue Admirer; Vernon C. and Bee. — 
All of your questions have been an- 
swered up above. 

Tony's Fan. — Well, the strongest day 
of the seven is Sunday, because the 
others are week days. And she thought 
filet mignon was fish ! $&% ! So you 
are going to frame the one dollar you got 
from the editor. Good for you. I would 
like to see the one dollar I could frame. 
Maybelle H. — Frances Howard is to 
play the lead in The Szvan and she is 
under a long-term contract with Famous 
Players. Her next will be A Kiss in the 
Dark, Why, Anna Q. Nilsson and Ben 
Lyon have the leads in The One Way 
Street, you know. Address Conrad 
Nagel at the Metro-Goldwyn Studios. 

Gertrude S. — You ask "Who was 
Hamlet?" What, you go to Sunday 
school and dont know that? Rudolph 
Valentino is five feet eleven. So you 
like my beard. I like it. Find it very 
comfortable on these cold days. 

Abie. — Grace Cunard played in The 
Broken Coin. Raymond Hatton is. still 
in pictures. He recently signed a con- 
tract with Famous Players. You know 
he played on the stage since he was ten 
years old. George Mel ford was his first 
director, and now he is directing him in 
The Top of the World. 

U Tellem.— All right, I will. Which 
is the most awkward time for a train to 
start? 12.50, as it's ten to one if you 
catch it. Richard Talmadge can be 
reached at 5617 Hollywood Boulevard, 
Hollywood, California. 

(Continued on page 127) 



Advertising Section 




Recent photograph of 
Ruth Roland, one of 
America's most pop- 
ular movie stars. 




oAileen Cringle 

says: "J love beautiful things. 
I guess that' s why I 'm so partial 
to my Olson Rugs. The colors 
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Irene ^ch 

writes: "Olson Rugs are a 
splendid combination of the 
artistic and the practical. 
The soft, neutral colors har- 
monise with any decorative 
plan, and it seems as though 
there is no 'wear out' to 
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HJUhat Makes My Home 
so 'Homey'? I'll tell you the 
Secret" says c Ruth c Rpland 

In our study of interior decorating we have found one thing to be true 
(and all good interior decorators agree on this point) that no home can 
be really attractive without the right sort of rugs. Rugs should play the 
leading role in every scheme of interior decorating. For they make or 
mar the appearance of your home. Worn or unattractive rugs and carpets 
destroy the effect of good furniture, wall coverings, drapes. Beautiful 
rugs add to the charm of your furnishings— form a background which 
sets them off to best advantage. Your rugs should be the keynote— the 
foundation on which to build. Everything depends on the rug. 

"In selecting rugs for my home, my Interior Decorator approved my 
choice of Olson Rugs. First, because the soft, neutral colors and the new 
one and two-tone effects set my furnishings off to best advantage ; second, 
because these colors in Olson Rugs give to any room the appearance of 
being larger than it really is. Personally, I love the restful colors and 
the soft, rich, deep texture of Olson Rugs." — Ruth Roland. 

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When you write to advertisers please mention MOTION PICTURE MAGAZINE. 




What the Stars Are 

A department for the fans, m which they are in 
of the present picture activities of their mm fa 

Conducted by Gertrude Drisi 





Adams, Claire — playing in The Devil's Cargo — 
F. P. L. 

Adoree, Ren^e — will next be seen in Rupert 
Hughes' Excuse Me — M. G. M. 

Agnew, Robert — playing in The Man Without a 
Conscience — W. B. 

Alden, Mary — recently completed work in The 
Beloved Brule — V. 

Alexander, Ben — plaving in Pampered Youth 
—V. 

Allison, May — will have an entirely different role 
than she has heretofore enacted, that of a married 
woman flirtatiously inclined, in Interpreter's House 
— F. N. 

Astor, Mary — has been signed by Ince for a 
period of three years. Her first picture under her 
new contract will be Playing with Souls. 

Ayres, Agnes — recently completed work in To- 
morrow's Love — F. P. L. 

B 

Baby Peggy — latesl release Helen's Babies. Dis- 
engaged at present. 

Ballin, Mabel — recently started work in The 
Riders of the Purple Sage — W. F. 

Barnes, T. Roy — playing in Seven Chances — 
M. G. M. 

Barry, Wesley — playing in Battlin' Runyon — ■ 
W. D. R. 

Barthelmess, Richard — playing in New Toys, 
a comedy of domestic life, with Mrs. Barthelmess 
(Mary Hay) for his leading lady. 

Baxter, Warner — playing an important role in 
Cecil B. De Mille's production, The Golden Bed— 
F. P. L. 

Bayne, Beverly — will play Countess Olenska in 
The Age of Innocence, taken from Edith Wharton's 
prize-winning novel — \V. B. 

Bedford, Barbara — has signed a contract to ap- 
pear in Thomas H. I nee productions. Her first part 
is opposite Charles Ray in The Desert Fiddler— 
T.H.I. 

Beery, Noah — playing in East of Suez — F. P. L. 

Beery, Wallace — has just arrived in 
town from the Coast to play in Coming 
Thru—F. P. L. 

Bellamy, Madge — will portray her 
first "heavy" role, Una, in The Dancers 
— W. F. 

Bennett, Alma — recently completed 
work in The Lost World— F. N. 

Bennett, Constance — has been 
placed under a long term contract with 
F. P. L., as her reward for her work in 
Code of the West. She is now appearing in 
James Cruze's production, The Goose 
Hangs High. 

Bennett, Enid — latest release The 
Red Lily. She is vacationing in Italy, 
where her husband, Fred Niblo, is direct- 
ing Ben Ilur. 

Blue, Monte — recently completed 
work in The Dark Swati — W. B. 

Blythe, Betty — has the role of a Span- 
ish "vamp"in The Desert Fiddler — T.H.I. 

Boardman, Eleanor — playing in The 
Summons — M. C. M. 

Bonner, Priscilla — plaving in Charley's Aunt — 

A. C. 

Bosworth, Hobart — playing in My Son — F. N. 
Bow, Clara — playing in Capital Punishment — 

B. F. S. 

Bowers, John — just starting work in Kings in 
Exile— M. G. M. 

Breamer, Sylvia — has recently become Mrs. 
Harry Martin. It is rumored she will desert the 
screen for a domestic career. Her latest picture is 
Women and Gold — G. P. 

Brent, Evelyn — has been cast as the leader of a 
band of crooks in Silk Storking Sal. It is a thrilling 
crook play with unusual complications — G. P. 

Bronson, Betty — playing Peter Pan for F. P. L. 
(t\ She had to bob her hair to become Peter. 

082 
JA0£ 



Brook, Clive — recently started work in Playing 
with Souls— T. H.I. 

Burns, Edward — has returned to the States from 
his visit abroad. He will be seen in The Redeeming 
Sin shortly — V. 

Busch, Mae — will next be seen as an American 
Society girl who seeks a thrill in the Paris underworld. 
She will display a variety of fashionable gowns in this 
production — B. F. S. 

Butler, David — has been added to the cast of 
Code of the West— F. P. L. 

c 

. Calhoun, Alice — will be seen as Isabel Minafar 
in Pampered Youth — V. 

Carey, Harry — playing in Soft Shoes — P. D. C. 

Carr, Mary — is playing the 72-year-old Aunty Sue 
in The Re-creation of Brian Kent — P. P. 

Chadwick, Helene — playing Betty Jo in The Re- 
creation of Brian Kent — P. P. 

Chaney, Lon — plays the role of the Phantom in 
the mystery melodrama, The Phantom of the Opera, 
which has as its grotesque setting the underground 
tunnels of Paris. There are over three thousand 
extras employed in this production — U. 

Chaplin, Charles — playing in Chilkoot Pass. 

Chaplin, Sydney — is busy selecting lace mitts, 
corkscrew curls, etc., as part of his wardrobe in 
Charley s Aunt — A. C. 

Clifford, Ruth — is playing in Frank Lloyd's next 
production, Judgment — F. N. 

Cody, Lew — is playing a different kind of villain 
in Dixie — M. G. M. 

Collier, William, Jr. — playing in Plaving with 
Souls— T. H. I. 

Colman, Ronald — appearing in A Thief of Para- 
dise, taken from Leojiard Merrick's novel, Worldings. 
This is his first picture under his starring contract 
with Samuel Goldwyn Productions. 

Compson, Betty — just starting work in New 
Lives for All—F. P. L. 

Coogan, Jackie — latest release is The Rag Man — 
M. G. M. 

Corbin, Virginia Lee — playing in The Three Keys 
— B. P. Alas, another grown-up part. 



I-TUXDREDS of inquiries reach this office every 
zveek, from movie fans all over the country, ask- 
ing for information about the nczv pictures their 
favorite stars are making. In consequence, we have 
opened this department, which henceforth will be. one 
of the regular features of the magazine. We give 
information that is accurate ichen we go to press, 
hut changes may occur in the time that elapses li'hile 
the magazine is being printed and distributed. A key 
to the abbreviations will be found on page 126. 



Cornwall, Ann — will have the leading role oppo- 
site Douglas MacLean in his forthcoming comedy 
called Sky High— A. E. 

Cortez, Ricardo — playing the role of Tutor that 
the Princess falls in love with, in The Swan — F. P. L. 

Crane, Ward — playing in Jazz Parents — U. 

D 

D'Algy, Helen — recently completed work in A 
Sainted Devil— F. P. L. 

Dana, Viola — playing in As Man Desires — F. N. 

Daniels, Bebe — plaving in Miss Bluebeard — 
F. P. L. 

Davies, Marion — playing the part of Mamie in 
Zander the Great — C. P. 



Daw, Marjork — "'S returned to California to 
play in One Year 7\ .e — F. N . 

Day, Shannon — plaving in The Star Dust Trail 
— W. F. 

Dean, Priscilla — has just started wcrk in a society 
drama. The scenes will be laid in Austria. 

De La Motte, Marguerite — has been engaged 
for the leading r61e in Cheaper to Marry — M. G. M. 

Dempster, Carol — playing the leading role in 
D. W. Griffith's production Isn't Life Wonderful, for- 
merly titled Dawn — D. W. G. 

Denny, Reginald — playing in California Straight 
A head—U. 

De Roche, Charles — playingin Madame SansGltie, 
which is being filmed in France. The entire cast with 
the exception of Gloria Swanson and Charles De 
Roche is made up of French st?rs — F. P. L. 

Desmond, William— plaving in The Burning 
Trail— U. 

De Vore, Dorothy— plaving in The Broadway 
Butterfly— W. B. 

Dexter, Elliott — has teen cast for an important 
role in The Trifters—B. F. S. 

Dix, Richard — will be seen as a "bally English- 
man" in None Bu the Brave — F. P. L. 

Dove, Billie — playing in The Folly cf Vanity — 
W. F. 

Du Pont, Miss — playing in Raffles — V. 

Dwyer, Ruth — has been chosen to play the fem- 
inine lead opposite Buster Keaton in Seven Chances — 
M. C. M. 

E 

Earle, Fdward — playing in The Dangerous Flirt, 
which was formerly titled The Prude — G. P. 

Edeson, Robert — playing in Blood and Stee! — U. 

Ellis, Robert — playing in 5(7* Sleeking Sal — H. S. 

Evans, Madge — recently completed the leading 
feminine role in Classmates — I. P. 

F 

Fairbanks, Douglas — disengaged at the present 
time. His latest release was The Thief of Bagdad — 
U.A. 

Faire, Virginia Erown — playing in 
Peter Pan—F. P. L. 

Fawcert, Ceorge — will 1 e seen cs the 
old King in The Merry Wide;; — M. (",. M. 

Fazenda, Louise — las been cast as 
Cookie Dale, a vivacious cl orus girl, in 
The Broadway Butterfly — W. B. 

Fellows, Rockcliffe — playing in East 
of Suez— F. P. L. 

Flynn, Maurice — playing in the sec- 
ond of his outdoor r reductions, called 
The No-Gun Man — F. B. O. 

Forrest, Alan — playing in In Love 
with Love — \Y. F. 

Fox, Lucy — appearing rrr r -i'e Buck 
Jones in The Trail Rider — W. F. 

Francis, Alec B. — playing in The 
Bridge of Sighs— \V. B. 

Francisco, Betty — playing in Wife of 
the Centaur — M. G. M. 

Frazer, Robert — is coming on from 
the Coast to play opposite Bebe Daniels 
in Miss Bluebeard— F. P. L. 

Frederick, Pauline — recently com- 
pleted work in Married Hypocrites — U. 

G 

Garon, Pauline — has recently returned from 
Paris witli several trunks of new gowns which she 
will display in her new picture, Parisian Nights — 
F. B. O. 

Gendron, Pierre — plaving in The Dangerous 
Flirt— F. B. O. 

Gibson, Hoot — next feature will be a horse slorv 
titled Dark Rosalcen—V. 

Gilbert, John — has finally been selected for the 
role of Prince Danilo in The Merry Wido'u — M. G. M. 

Gillingwater, Claude — playing in .4 Thief of 
Paradise — F. N T . 

{Continued on page 120) 




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Itslingering fragrance is as delicate as an old- 
fashioned nosegay. 

Lablache has been the instinctive choice of 
gentlewomen forthree generations and Lablache 
accessories de toilette are companions in 
choice of gentlewomen everywhere. 

If your drugpist or favorite store does not have 
the new Lablache Requisites, write us direct, en- 
closing stamps, money order or check, and we 
will mail you hy next parcel post any Lablache 
Requisites you desire. Sample of Lablache Face 
Powder — Flesh, White or Creme — sent free on 
request. 

BEN LEVY COMPANY 

Dept. 56, 125 Kingston Street, 

Paris Boston, U. S. A. 



L^ 




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7\ 



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THE CHOICE OF GENTLEWOMEN FOR THREE GENERATIONS 



When you write to advertisers please mention MOTION PICTURE MAGAZINE. 



83 
PAG 



t 




■ 
H 





if I would 

job in the movies, 
should she come to 
New York. 

"Jokingly I replied, 
'Sure!' and never gave 
the thing another 
thought. 

"At that time the old 
Vitagraph studios were, 
as you remember, in 
Brooklyn. I had just 
returned to my hotel in 
New York after a busy 
day at the studio, when 
my 'phone rang and the 
hotel desk announced 
that Miss Ward from 
Washington was down- 
stairs to see me. 

"'Miss Ward?' I queried. 






J 



Lillian Walker 

Vitagraph's 

"dimpled girl" 

(right) 



been back in my old 
Broadway haunts two 
weeks when I found 
myself looking for a 
screen offer. Good for- 
tune smiled on me 
quickly, and, while I 
was dancing with Ger- 
trude Hoffman in her 
vaudeville act, the old 
Triangle company en- 
gaged me to come to 
Los Angeles to play 
opposite Constance Tal- 
madge, Dorothy Gish 
and other of their stars, 
under the supervision 
of D. W. Griffith, at the old Reliance studio. What reminiscences 
are called to the minds of those who got their real start within 
those hallowed walls ! — but that's another story." 




I 



I never heard of her.' " 

" 'But she insists that you know her and she will not leave until 
you have seen her. She has been here already several hours,' 
came the response. 

"Reluctantly I descended. There in the lobby stood Miss Ward, \^illiam S. Hart tells this story on himself: 
a none-too-attractive looking girl, surrounded by many suit-cases, vv "We used to put on some pretty hard fights and 
band-boxes and indiscriminate luggage. By her side was a woman 
looking like a comic Valentine, whom she presented to me as her 
mother. 

" 'Well,' she said, gaily enough, 'Here I am !' 

"On the strength of my 'promise,' given her in Washington, 
she explained, she and her mother had sold the boarding house 
which was their home and had arrived, bag and baggage, to 

84 

0£ 



stunts in 
making Western pictures, but there was always something funny 
happening to keep us in good humor. Probably the funniest of 
all was a joke on me. 

"In Branding Broadzvay, I was supposed to go to New York 
to act as a 'nurse' for a wild young college man. He hired a 
cafe bouncer to lick me. The cowboys at the studio brought a 
(Continued on page 95) 



Advertising Section 




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Mail the coupon todayl 

M. J. McGowan, Chief Chemist 



The McGowan Laboratories 
710 W. Jackson Blvd., Dept. 625, Chicago, 111. 
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NOTE: If you are likely to be out when the 
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bottle of McGowan's Hair Grower will be sen 
postpaid. 



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85 
PAG 



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HMOTION PICTURF 
nt)l I MAGAZINE L 




Advertising Section 



" She's the best 
girl in the office 



>> 



"She hasn't been here as long as some of 
the other girls, but she knows ten times as 
much about this business. I've watched 
her work during the last six months espe- 
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bigger work and I'm going to give her 
Miss Robinson's position at a raise in salary. 
I wish we had more girls like her." 

Why don't you study some special subject and 
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to do it than by studying at home in spare time with 
the International Correspondence Schools. 

The I. C. S. has a number of courses especially 
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writers, pharmacists, assistants in chemical labora- 
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Mark and mail the coupon and we'll be glad to 
send you interesting, descriptive booklets telling what 
the I. C. S. can do for you. 

Mai l the Coupon Today 

INTERNATIONAL CORRESPONDENCE SCHOOLS 

Box 6565-B. Scranton, Penna. 

Without cost or obligation, please send me your 48-page 
booklet, "How Women Are Getting Ahead," and tell me 
how I can qualify for the position or in the subject before 
which I have marked an X: 



[^Advertising 

□ Private Secretary 
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I 



Perfect Health 



Don't send a penny for this valuable and in- 
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An off-stage snap-shot of some old Vitagraph favorites, Marc Mc- 

Dermott, Peggy Hyland, and the director, William Brabin, made 

during the filming of The Sixteenth Wife 

SKots from the First Fan Magazine 

(Continued from page 51) 

fact that the industry could not grow tempt to stage "a come-back in pictures." 

bigger unless it grew steadily better. Still others, ranking high in the contest, 

"Let the makers of pictures beware !" are even stronger that they were ten years 

said an editorial in an early issue. "There ago— Mary Pickford, Norma Talmadgc, 

is a large, new class of photoplay patrons Charlie Chaplin and Tony Moreno, 
growing every day. This class is not the The cast which was given the leading 

kind that will be entertained by the old- place in the contest is as follows : 

fashioned picture plays that told of mur- _ 

der, divorce, burglary and crime. A high Leading man Earle Williams 

standard must be fixed and maintained. So Leading woman Mary Pickford 

far as I am concerned, I cry, 'Down with Character man Romame Fielding 

melodrama in pictures !' unless it be genu- Character woman Norma Talmadge 

ine melodrama, which is far different from Comedian, male Charlie Chaplin 

vellow drama" Comedian, female.. Mabel Normand 

One of the' most interesting features of Handsome young man. .. .Antonio Moreno 

the early issues was a debate on censor- Beautiful young woman Anita Stewart 

ship, a subject which even then attracted Villain. . Br £ a ?t ^ ashbu , rn 

nation-wide attention. The question was, Favorite Child Bobby Connelly 

"Shall the plays be censored? Does cen- , , . , 

sorship assure better plays or is it beset , AItho the word fan, short for fanatic, 

with dangers?— promise or menace?" had not yet been incorporated into the 

... , , ,, ,. English language at the time this maga- 

Another interesting feature of the earlier zme was started> already there was ; 

years was a popularity contest the first of j a far . flung aud ience for whom the 

its kind ever held, staged by the magazine. tide « picture enthusiasts" was a much too 

It was called the Great Cast Contest, and, c i umsy term 

by means of a ballot issued by the maga- _, . ' , , ,, . , 

zine, readers chose the ideal cast for a This crowd made clear in methods by 

hypothetical picture, presumably the best "° means vague, their adoration of the 

of its kind * stars which the magazine featured, deluged 

The results of the contest are interest- j* with poems and compliments which they 

ing, in view of the light of succeeding begged to have passed on to the objects of 

events and the present status of many of their adoration thru the columns ot the 

the players. Some of the players sug- magazine. 

gested by the readers, tho raging favorites The "Chats With the Players, fea- 

of a decade ago, are no longer even known tured by the magazine, were probably the 

to the picture audiences of today, their first authentic interviews ever given out 

faces, once beloved and watched for, have by motion picture stars. They are dif- 

disappeared entirely from the screen. ferent from the interview of today, for 

Others are only dim memories whose fame stars, as well as writers, have grown 

is not revived by an occasional futile at- bolder. 



86 

Gf. 



Every 



TF an average man was asked to select the most talented woman screen 

1 star, he would probably pick out the prettiest. If the average woman 

was asked for her opinion, she would doubtless select the one ivho wore 

clothes with the most style 



advertisement in MOTION I'ICTfRE MAGAZINE is guaranteed. 



Advertising Section 



0T10N PICTURI 



6)1 I MAGAZINE 



The Most Daring Booh 
Ever Written ! 



Elinor Glyn, famous author of "Three Weeks," has written an 
amazing book that should be read by every man and woman 
— married or single. "The Philosophy of Love" is not a novel 
— it is a penetrating searchlight fearlessly turned on the most 
intimate relations of men and women. Read below how you can 
get this daring book at our risk — without advancing a penny. 



WILL you marry the man 
you love, or will you 
take the one you can get? 

If a husband stops loving 
his wife, or becomes infatu- 
ated with another woman, 
who is to blame — the hus- 
band, the wife, or the "other 
woman"? 

Will you win the girl you 
want, or will Fate select your 
Mate? 

Should a bride tell her hus- 
band what happened at sev- 
enteen ? 

Will you be able to hold the love of 
the one you cherish — or will your mar- 
riage end in divorce? 

Do you know how to make people 
like you ? 

IF you can answer the above questions — 
if you know all there is to know about 
winning a woman's heart or holding a 
man's affections — you don't need "The 
Philosophy of Love." But if you are in 
doubt — if you don't know just how to 
handle your husband, or satisfy your wife, 
or win the devotion of the one you care 
for — then you must get this wonderful 
book. You can't afford to take chances 
with your happiness. 

What Do YOU Know 
About Love? 

DO you know how to win the one you 
love? Do you know why husbands, 
with devoted, virtuous wives, often become 
secret slaves to creatures of another "world" 
■ — and how to prevent it? Why do some men 
antagonize women, finding themselves beat- 




ELINOR GLYN 
The Oracle of Love 



What Every Man and 
Woman Should Know 



-how to win the man 

you love, 
-how to win the girl you 

want, 
-how to hold your hus- 
band's love. 
-how to make people 

admire you. 
-why "petting parties" 

destroy the capacity 

for true love, 
-why many marriages 

end in despair, 
-how to hold a woman's 

affection, 
-how to keep a husband 

home nights, 
-things that turn men 

against you. 
-how to make marriage 

a perpetual honey- 
moon, 
-the "danger year" of 

married life. 



— how to ignite love — 
how to keep it naming 
— how to rekindle it 
if burnt_out. 

— how to cope with the 
"hunting instinct" in 
men. 

— how to attract people 
you like. 

— why some men and 
women are always lov- 
able, regardless of age. 

— are there any real 
grounds for divorce? 

■ — how to increase your 
desirability in a man's 
eye. 

— how to tell if someone 
really loves you. 

—things that make a 
woman "cheap" or 
"common." 



ing against a stone wall in affairs 
of love? When is it dangerous to 
disregard convention? Do you 
know how to curb a headstrong 
man, or are you the victim of 
men's whims? 

Do you know how to retain 
a man's affection always? How 
to attract men? Do yea know 
the things that most irritate a 
man? Or disgust a woman? 
Can you tell when a man really 
loves you — or must you take his 
word for it? Do you know what 
you MUST NOT DO unless you 
want to be a "wall flower" or an 
"old maid"? Do you know the little things 
that make women like you? Why do "won- 
derful lovers" often become thoughtless 
husbands soon after marriage — and how can 
the wife prevent it? Do you know how to 
make marriage a perpetual honeymoon? 

In "The Philosophy of Love," Elinor 
Glyn courageously solves the most vital 
problems of love and marriage. She places 
a magnifying glass unflinchingly on the most 
intimate relations of men and women. No 
detail, no matter how avoided by others, 
is spared. She warns you gravely, she sug- 
gests wisely, she explains fully. 

"The Philosophy of Love" is one of the 
most daring books ever written. It had 
to be. A book of this type, to be of real 
value, could not mince words. Every prob- 
lem had to be faced with utter honesty, deep 
sincerity, and resolute courage. But while 
Madame Glyn calls a spade a spade — while 
she deals with strong emotions and passions 
in her frank, fearless manner — she neverthe- 
less handles her subject so tenderly and 
sacredly that the book can safely be read by 
any man or woman. In fact, anyone over 
eighteen should be compelled to read "The 
Philosophy of Love"; for, while ignorance 
may sometimes be bliss, it is folly of the 
most dangerous sort to be ignorant of the 
problems of love and marriage. As one 
mother wrote us: "I wish I had read this 
book when I was a young girl- — it would 
have saved me a lot of misery and suffering." 
Certain shallow-minded persons may 
condemn "The Philosophy of Love." Any- 
thing of such unusual character generally 
is. But Madame Glyn is content to rest her 
world wide reputation on this book — the 
greatest masterpiece of love ever attempted. 

SEND NO MONEY 

YOU need not advance a single penny 
for "The Philosophy of Love." Simply 
fill out the coupon below — or write a letter 
• — and the book will be sent to you on ap- 
proval. When the postman delivers the 
book to your door — when it is actually in 




your hands — pay him only $1.98, plus a few 
pennies postage, and the book is yours. Go 
over it to your heart's content — read it from 
cover to cover — and if you are not more 
than pleased, simply send the book back in 
good condition within five days and your 
money will be refunded instantly. 

Over 75,000,000 people have read Elinor 
Glyn's stories or have seen them in the 
movies. Her books sell like magic. "The 
Philosophy of Love" is the supreme culmi- 
nation of her brilliant career. It is destined 
to sell in huge quantities. Everybody will 
talk about it everywhere. So it will be ex- 
ceedingly difficult to keep the book in print. 
It is possible that the present edition may 
be exhausted, and you may be compelled 
to wait for your copy, unless you mail the 
coupon below AT ONCE. We do not say 
this to hurry you — it is the truth. 

Get your pencil — fill out the coupon 
NOW. Mail it to The Authors' Press, 
Auburn, N. Y., before it is too late. Then 
be prepared to read the most daring book 
ever written ! 



The Authors' Press, Dept.329, Auburn, N. Y. 

Please send me on approval Elinor Glyn's mas- 
terpiece, "The Philosophy of Love." When 
the postman delivers the book to my door, I 
will pay him only SI. 98, plus a few pennies post- 
age. It is understood, however, that this is not 
to be considered a purchase. If the book does 
not in every way come up to expectations, I 
reserve the right to return it any time within 
five days after it is received, and you agree to 
refund my money. 



De Luxe Leather Edition— We have prepared a Limited Edi- 
tion, handsomely bound in Royal Blue Genuine Leather and 
lettered in Gold with Gold Tops and Blue Silk Markers. No 
expense spared—makes a gorgeous gift. If yon prefer this 
leather edition—as most people do—simply sign below.', .__. 
place a cross in the little square at the right, and pay I | 
the postman only $2.98 plus postage. I — I 



Name. ... 

Address 

City and State. 



IMPORTANT — tf it is possible that you may not be | 

at home when the postman calls, send cash in ad- 
vance. Also if you reside outside the U. S. A., pay- I 
ment must be made in advance. Regular Edition ■ 
$2.12. Leather Edition S3. 12. Cash with coupon. 



{ 






When you write to advertisers please mention MOTION PICTURE MAGAZINE. 



J 

89 
PAS 



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"K!^ 



Advertising Section 



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fe^^ 




SAY "BAYER ASPIRIN" and INSIST! 

Unless you see the "Bayer Cross" on tablets you are 
not getting the genuine Bayer Aspirin proved safe 
by millions and prescribed by physicians 24 years for 



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Pain Toothache 



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Accept only " Bayer" package 
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Also bottles of 24 and 100 — Druggists. 

Aspirin is the trade mark of Bayer Manufacture of Monoaceticacidester of Salicylicacld 



s& 



AOTION DICTVBE 




The Arch 
Bigamist 

Huntley Gordon 
has been married 
to thirteen dif- 
ferent women. 
On the screen, 
of course. Read 
his impressions 
of these stars in 
Classic. 



-fir 



Worried Stars 




The folks in Holly- 
wood are not a little 
depressed these days 
about the changes be- 
ing made by the 
foreign directors. 
Harry Carr will have 
an article about it in 
Classic 



Are They Worth It? 



Good 
or Bad ? 

Is Hollywood 
the abode of the 
devil, as some 
people maintain, 
or are the folks 
just human, like 
us? We will tell 
you. 



-That is the question being put by so many people who are believing 
the absurd reports about the enormous salaries received by the stars. 
At last vou will have the truth. 



Be Sure to Get the February 



O ACTION DICTVDE 
LA«SIC 




90 



That "Different" Screen Magazine 
On the News-stands January 12 

Every advertisement in MOTION PICTURE MAGAZINE is guaranteed. 



They were unable to think of sleep until 
the bluecoats had finished their job. 
From time to time they heard the chatter- 
ing voices of lodgers awakened by the 
search 

Whose Hand 

(Continued from page 45) 

Officer," she answered with cold dignity. 
"The mark on the rug proves that. Your 
duty, as I see it, is to investigate." 

The bluecoats shrugged their shoulders. 
"Sure, we'll give the place the once over," 
said Quinlan. "Never a sniff or sign of a 
living soul will escape us, Miss." 

While Boyle started for the bathroom, 
Quinlan dragged the bed aside and made a 
search that was punctuated with heavy 
raps of his nightstick on the metal frame, 
the mattress and the floor. There was no 
cupboard behind the bed, no aperture in 
the wall other than a tiny radiator pro- 
tected by a grill thru which a mouse could 
scarcely have passed. From the bed he 
moved to the clothes-closet, to every nook 
and recess of the room. He did not omit 
even to throw up the lid of Margot's trunk, 
which stood unlocked in a corner, and to 
prod with his baton among her gauds. He 
finished at the same moment that Boyle 
returned, shaking his head. 

"Look here, Miss ; may I ask you what 
business you're in?" asked Quinlan, with a 
touch of malice. 

"I am a motion-picture actress," an- 
swered Margot curtly. 

"It don't surprise me, at all, at all. You 
movie queens like to pull anything that will 
make a story in the papers, dont you?" 

Swift anger blazed in her eyes. "I've 
told you the plain truth. I saw a hand 
put out the match. You've no right to 
insult me." 

"Easy there, now. I meant no harm. 
You say you were scared stiff for several 
minutes. And then you 'phoned to this 
young man — Mr. Valery, eh? Is that 
straight?" 

"Yes." 

"And he was able to walk in without 
your leaving the bed, because the door was 
unlocked?" 

"Yes." 

"Well, well. Miss Anstrooter," exclaimed 
Quinlan triumphantly, "didn't it strike you 
at all that your visitor could have crawled 
in the dark to that door, opened it with- 
out making a sound, and got clear away 
after he'd shut it behind him?" 

For a moment, Margot was overwhelmed 
by the simplicity of the theory, sure tho 
she felt deep down that her fear-keyed 
brain could never have missed the least 
move on the part of the lurker. It was 
the landlady, Cora Bellew. who spoke first. 

"Oh. my God!" she exclaimed hys- 
terically. "That crook's roaming thru my 



Advertising Section 



n ,.-,0T!0N PICTU 

01 I MAGAZINE 



an uproar. Carlo, from the shadow of a 
pillar, saw Romola seize the uplifted hand 
of a burly workman. 

"God is speaking thru his lips !" she 
flamed. "Will you stone God?" 

The artist hurried to her and tried to 
draw her away from the hideously yelling 
mob. But Romola only stamped her small 
foot. "They will kill him ! And you 
stand here and let them ! Is there no man 
in Florence to stand up there beside him?" 
She was struggling thru the press of 
sweaty bodies. Carlo caught up with her 
at the foot of the Duomo steps. 

"Wait ! I will speak to them." He was 
terribly afraid. The noise of the crowd 
was that of wild beasts ; there was blood- 
rage in the sound. His sensitive imagina- 
tion felt the impact of their missiles, the 
touch of hands, horribly strong. But he 
put her aside and leaped up the steps, 
standing before the cowled figure of the 
monk, arms spread wide. 

"People of Florence ! Free people of a 
free city — do you value freedom so meanly 
that you hold out your hands for your 
old chains?" Amazement held them silent, 
and, in the hush, Carlo swept on. He 
had been always a silent man, now he 
spoke with golden tongue, urging, cajoling, 
pleading, conscious of Romola's watching 
eyes. He was carrying the mob with him 
when a laugh rang out, drawing all eyes 
to the winsome figure of Tito Melema 
sitting his horse jauntily, on the outskirts 
of the crowd. 

Immediately the fickle throng echoed 
the laugh. The devastating sound of their 
guffaws drowned Carlo's voice, and, re- 
sponsive to a sign, two burly men-at-arms 
seized him by the elbows and propelled 
him, ludicrously hanging back, into the 
Duomo, but not before he saw that Romola 
had taken his place at Savonarola's side. 
He struggled frenziedly as they dragged 
him across to the prison and thrust him 
behind bars. 

"Romola!" he gasped, when Tito Mele- 
ma appeared at last in response to his 
messages. "Was she hurt?" 

"My poor, mistaken wife," Tito smiled 
suavely, "is quite safe. But you and she 
should not meddle in politics, my friend. 
You're too weak-spirited for this game, 
both of you. Chess in a quiet room is 
fitter sport for you !*' He made the great 
drum of his chest boom with a blow, "I 
am different! I take what I want from 
life — I am the heir of the ages, I wanted 
wealth and I took it, I wanted power and — 
I took it ! I wanted Romola — and I took 

her " his white hands with their thick 

fingers seemed to close on something frail 
— helpless. 

Carlo spoke in a smothered voice. 
"How long am I to be kept here?" 

Tito laughed lightly, turning away. 
"Not long," he called back, "merely until 
your unexpected eloquence can do no 
harm, until that canting hypocrite of a 
monk is dead, and Tito Melema, the friend 
of princes, is where destiny intends him 
to be!" 

I N the gray half-light of the prison, night 
could only be told from day by the 
ringing of the cathedral bells. Carlo 
made a mark for each of these periods, 
and when the tally had totaled a fortnight, 
the roar of another mob came to his ears 
and shadows like flickering flames danced 
upon the wall of his cell. For hours, it 
seemed, the human storm spent itself 
above, while Carlo paced back and forth 
in agony at the thought of Romola. Then 
came silence, more terrifying in portent 
than any sound. 

The creak of hinges drew his haggard 
{Continued on page 106) 






I ■ 



> Assimilation ot tooa 

Remains Undernour^bed^. 



Bad teeth and malnutrition 
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of the child are retarded. 




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Preventive science is the new development in den- 
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COLGATE & CO., 
Dept. 996, 

199 Fulton St., New York City 



Please send me free, a 
trial tube of Ribbon Dental 

Cream. 



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93 

PAfi 



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/0T1 ON PICTURF 
1 MAGA2INE ■ 




Advertising Section 



" Mary, I Owe It 
All to You" 

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I 



No More Wrinkles 

You too can have a firm 

wrinkle-free complexion 
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Elmer Clifton and Wally Reid. 

"friendly juveniles," waiting for 

orders on the old Griffith Lot 



Them Good Old Days 

(Continued from page 63) 

Norma used to run in every now and then. 
Her last really big picture with Vita- 
graph was The Battle Cry of Peace. 
Norma, Constance and their mother, Peg, 
as the girls call her, used to run in quite 
regularly. Norma was present when a 
committee from The Pansy Motion Pic- 
ture Correspondence Club presented me 
with a beautiful silver loving-cup. This 
was a beautiful thought and I shall never 
part with it, even if in hard times I have 
thought of taking it to Uncle's. 

You know, Harold Lloyd and Mary 
Pickford never fail to visit us when they 
come East. Florence Turner, Francis 
Bushman and Beverly Bayne, J. Warren 
Kerrigan, Anita Stewart, Dorothy Phillips, 
Mae Murray, Larry Semon, William 
Russell have all been in to see us. Yes, 
there are a lot more, too. 

We used to run several popularity con- 
tests, and Alary Pickford usually came 
out on top. I remember one contest 
when Bobby Connelly won as the most 
popular child player. I shall never for- 
get Little Bobby. Romaine Fielding was 
mighty popular in those days. You know 
he married one of my readers — we used 
to call her the Beautiful Naomi. Remem- 
ber poor Sidney Drew, Olive Thomas, 
Robert Harron,- Arthur Johnson, Clarine 
Seymour, Florence La Badie, Wally Reid, 
Charles Kent. Van Dyke Brooke and 
Martha Mansfield. Of course, they will 
never be forgotten. 

Note to the Editor: 

Well, here's your old article com- 
plete. I have made it as dignified 
and scholarly as I knozv how. If you 
dont like it, write one yourself — I'm 
too busy with troubles of my own. 
Selah. Likewise farewell. And here- 
after please let the shoemaker stick 
to his last. That will be about all. 
Finis. (Which means finished — the 
end.) 

■ — The Answer Man. 



ARTISTS, ATTENTION ! 

Are You Sending in Your 
Sketches of the Stars? 

Another page of them will appear 
in the March number, and a prize 
will be awarded for the best sketch. 

SEE 
Motion Picture 

MAGAZINE 

for March 




How to care for 

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You cannot expect hair which is naturally 
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MAGAZINE, Art, Nature, 
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PERSONAL 
Appearance 



xs now more than eve? 
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1155 L, W. U. Building, Bin*hamton, N. Y. 



94 



Every advertisement in MOTION PICTURE MAGAZINE is guaranteed. 



Advertising Section 



0T10N P1CTU 

MAGAZINE 



Stories About the Old Times 

(Continued from page 84) 

new man on to the set that morning. 
When they introduced him — a man my 
height and a little heavier — I thought he 
acted sort of funny. He barely shook 
hands and then walked away. It was ex- 
plained to him that we would put on a 
terrific fight, pulling our punches as much 
as possible, and when I shouted, 'Go !' he 
would do his fall, knocked out. After the 
director got thru, I tried to talk to the 
man, but he mumbled in a surly fashion, 
nodded and went on. 

"The fight started. It was a dandy. We 
went to it pretty rough and when two big 
men begin swapping punches somebody 
is bound to get hurt. When Lambert 
Hillyer shouted, 'Go!' this man tore into 
me and almost knocked me apart. I just 
managed to save myself, and during the 
next few minutes I was so busy trying 
to protect myself that I could hardly 
figure out his game. Of course, I thought 
that I had been framed, and that he was 
sent in to beat me up. I tried "cueing' 
him a few times but each time I did he 
fought all the harder. 

"Of course, the director and camera- 
man were so excited with the unexpectedly 
great fight they were getting, that they 
didn't come to my aid. After I collected 
my wits, I discovered I had more science 
than my opponent, and the next time he 
came in charging like a mad bull, he ran 
into the hardest wallop I could hit. He 
dropped like an ox. 

"While he was coming to, I set out with 
blood in my eye to find out the truth. 
Some of the boys were convulsed with 
laughter, some acted a little scared. When 
they confessed to me that the man was 
deaf, I surely felt sorry. The poor fellow 
had been afraid to let on he couldn't hear 
the cue and thought my shouts and ges- 
tures meant to come on and fight. Which 
he surely did." 

"V/Ty first impression of motion pic- 
tures," said Monte Blue, "was 
gained thru a post-hole. I was digging it. 
My second was a tall man with an eagle 
face, surmounted and partially concealed 
by a large, misshapen Panama hat. He 
was leaning against a pole nearby a studio 
building at my back, while I, unaware, 
harangued a crowd of argumentative stu- 
dio workers. I was agitating against agi- 
tators. When I discovered the silent 
watcher, my flight of oratory ceased 
abruptly, and unconsciously I started tak- 
ing off my overalls. My job was gone, I 
thought. The man was D. W. Griffith, 
and as I had just escaped starvation a 
(Continued on page 128) 




Bill Hart in a scene from one of his " 
first Wild West pictures 




ouppose your eyelids 
Jailed to closes 

when a cloud of dust blows toward you 



Dust in the eyes? How rarely does this unwel- 
come experience occur, for the protecting eyelids 
"quick as a wink" snapshutwhen trouble looms. 

Unhappily there is no such protection for the 
skin. And often its soft, natural fineness is sacri- 
ficed because the tiny, delicate pores are subject 
to the irritating effects of this same dust-laden air. 

Nature does her best. The little pore ducts night 
and day cast out foreign particles and preserve 
the pliant fineness of the skin. We help by using 
our face creams faithfully to cleanse and nourish. 
But most face creams leave the pores wide open, 
unprotected as before. 

Tired, overtaxed, the pores become weak in 
functioning. And then we wonder why they be- 
come enlarged. 

Some of us accept this condition as "just natural 
to my skin." But those of us who really car; find 
ways to refine the pores. 

Ice is one tested way. But it is harsh to tender 
skins, and always more or less inconvenient. 



Note there is a new and better way—r 
with all the pore-contracting benefits of ice, and 
with none of its trouble — a delightful, refreshing 
cream, that feels and acts like ice on the skin. 

This new cream is called Princess Pat Ice Astrin- 
gent. It does not take the place of your nourish- 
ing creams. It simply finishes the task — closes to 
normal fineness the open, unprotected pores. 

Apply this icy and refreshing cream right over 
your nourishing cream. The sensation is like a 
cool lake breeze — the effect, an immediate con- 
traction of the pores. 

Princess Pat Ice Astringent does not enter the 
pores. Its smooth contracting action merely re- 
stores the refinement of texture to your skin; 
and its welcome "freezy" chill brings a tide of 
fresh natural color. 

You will be entranced at the youthful beauty 
which Princess Pat Ice Astringent brings to your 
complexion, and amazed at how wonderfully 
your powder adheres — without possibility of its 
entering and choking the pores. 



Beauty Hints by ''The Princess" 



My nighttreatment: Cleanse the skin 
thoroughly with a soft, solven t cleans- 
ing cream. Remove with soft cloth. 
Feed the pores generously with nour- 
ishing cream, gently manipulating 
with finger tips. Let sleep do therest. 
I suggest Princess Pat Cleanser and 
Princess Pat Cream for this night 
treatment. 



My morning treatment: Awaken 
the skin with cool, not cold, water. 
Dry the face. Now just a light coat 
of nourishing cream, again gently 
manipulating, always with upward 
and outward strokes. Now your ice 
astringent right on top of the nour- 
ishing cream. Then wipe off both 
together. 



My final touch: I find dry tint most 
natural — Princess Pat English Tint. 
Apply in the shape of a V, the point 
toward the nose, leaving a clear space 
in front of the ear. For waterproof 
effect, apply before powdering. I use 
an almond base powder— both sooth- 
ing and beautifying. 




nocess 

PRINCESS PAT, Ltd., Chicago, U. S. A. 




FREE 



This free demonstrationpackage, containing 
a liberal sample of both Princess Pat Ice As- 
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days' trial on your own complexion, entire- 
ly without cost, let your mirror be your guide. 



PRINCESS PAT, Ltd., Dept.22 

2701-9 South Wells Street, Chicago 
Please send Demonstration Package to 

Name 

Address 

City State.- 



When you write to advertisers please mention MOTION PICTURE MAGAZINE. 



95 

PAG 



I 






f 



m 



OTION PICTURfT 
MAGAZINE <- 



Advertising Section 



Beauty 

A Gleamy Mass of Hair 

35c "Danderine" does Wonders for 
Any Girl's Hair 




Girls ! Try this ! When combing and 
dressing your hair, just moisten your 
hair-brush with a little "Danderine" and 
brush it through your hair. The effect 
is startling! You can do your hair up 
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sparkling with life and possessing that 
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While beautifying the hair "Dander- 
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Print Your Own 

'Cards, stationery, circulars, labels. Presses 
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&HAPP 



FDCC NEW AMAZING METHOD 
r n EC enabling you to pick up this 
fine, full sized, K.a Wood Finished yV&, 
Hawaiian UKULELE and play y4b,y* 
the latest tunes in a manner jy+Jub 




that will amaze and delight _, 

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Nothing els. 
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I 




SAVE HALF 

The regular prlco Is 
$6.50 but if you send at 
once you will receive Uk- 
ulele, Easy Methcd, 20 
Pieces, of music. Felt Pick 
and as a heaping value we will 
also include absolutely FREE 
a Genuine Chinese Good Luck 
King alt for our special sale 
price of only $2.96. 

SEND NO MONEYS 

money ritrht at home. Pay 
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nies postage. Our binding legal 
Money Back Guarantee is Bent 
with each Ukulele. Order Now. 

C. F. JOHNSON & CO. 

CHINESE 19 W. JacMon Blvd., 

Good lAtck Ring D.pt. M-307 CHIOOO 




Ruth Roland and her mother, who 
was a famous opera singer 

Tke Stor? of M$ Life 

(Continued from page 53) 

After two years of high school I went 
to El PasO, Texas, to visit another aunt, 
and the first week I was there I ran away 
and joined a road company! We got 
stranded on our maiden trip and I caught 
the whooping-cough from a baby I held 
at a railroad station. (I was always bor- 
rowing babies.) I got back to my aunt's 
town with fifty cents, whooping merrily, 
but I was too proud to confess failure, so I 
didn't let her know I was back but went to 
a theatrical boarding-house with the rest 
of the troupe. Something had to be done, 
so we decided to put on a play at the local 
opera-house. But we had no money to pay 
a royalty fee, and at this crisis I per- 
formed a feat of which I am prouder than 
any flame-riding, chasm-leaping or trestle- 
walking I ever did in a movie serial. I 
repeated Paid in Full, by heart, to one of 
the actresses who was a stenographer, and 
the next week we opened in it ! Before I 
went on every night I uttered a prayer 
that I might get thru without a whoop. 

The next time I went out with a road 
company we got as far as a little tank-town 
in Oklahoma, named Muskeegee, before 
the manager and the leading lady decamped 
with the funds. The landlord of the little 
one-horse hotel in Muskeegee held my 
trunk for my board bill, and when I got 
a chance to make a little money by doing 
a turn at an Elks' benefit performance in 
town I had to beg him, practically on my 
knees, for one dress out of the trunk to 
wear in my act. When I came down from 
the room with the dress in my suit-case, he 
made me open it before a whole lobby full 
of grinning small-town loafers, because he 
suspected me of trying to carry away more 
than I had promised ! 

"Just now," I said, looking him straight 
in the eye, "I'm nobody ; but you wait ! 
Some day I'm going to be very successful, 
and then I hope I meet you and can tell 
you what I think of you!" 

I haven't ever seen him again — but I 
may yet. And I shall certainly tell him! 

Another vaudeville engagement soon had 
me in funds again and this time I went 
home to. California with a trunk filled with 
presents for my friends. After two years 
of Texas flatness, the foothills and roses 
of Los Angeles looked pretty good to me, 
and I made up my mind that, whatever my 
future was, it was going to be here. 

By this time there were several picture 
companies working in the West, and one 
day I borrowed a hat with a forty-dollar 
(Continued on page 112) 




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Original and Solo Importers of Genuine CORODITE GEMS 




HOW TO WIN 
LOVE 

Love is no longer a 
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or chance. Science has 
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controlled by fixed 
laws and principles. 
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96 
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Advertising Section 



The Winners of the Month 

(Continued from pages 46 and 47) 
Hot Water 

thru the young benedict's inability to con- 
trol the gas and the brakes. His facial ex- 
pressions here are cause for spontaneous 
laughter. The concluding scenes in which 
"mother" is routed are put over with quick- 
ness and despatch — with every incident 
timed to the second. The titles are gems 
of pointed wit. For instance : When the 
little brother is introduced it reads — "A 
skin you love to touch — with a strap." 

The picture develops a lively climax 
with the house turned into a bedlam of 
excitement as Harold, fortified with strong 
"likker," develops courage. By playing 
ghost, he scares the household out of its 
collective wits. He even chloroforms the 
mother-in-law — and his wraithlike figure 
sends her out into the night air — for good. 

It may not be so strong in plot interest 
as some previous efforts, but there is no 
denying its mirthful gags and high jinks. 
Lloyd certainly has a staff that scores as 
many comedy touchdowns as Notre Dame 
scores legitimate touchdowns against any 
of its opponents. The Lloyd steam-roller 
surely crashes thru here. 

The Snob 

these moments are not new in film situa- 
tion and climax ; they have only been 
treated more deftly, more suggestively — 
and with considerable more humanity. 

A thoroly absorbing drama — this, one 
that offers no stressing of emotions or sen- 
timental flourishes. It carries charm all 
the way. It's not a study in gray over- 
tones. Indeed, there are many bright 
shafts of humor which temper it and aid 
in making it human. 

The picture is marked by fine interpre- 
tation. Norma Shearer gives a perform- 
ance which hasn't been excelled this sea- 
son. It's an intelligent portrayal of a role 
marked by fine restraint and yet she satu- 
rates it with feeling. There is also an 
unnamed child actress who is a wonder. 

See The Snob, and you'll admit that the 
screen occasionally scales the high places. 

He Who Gets Slapped 

at all times He Who Gets Slapped main- 
tains the illusion. 

Norma Shearer is charming and effective 
as Consuelo, and the other sympathetic 
role is finely handled by John Gilbert. 
Marc MacDermott and Tully Marshall 
account for two more of the several splen- 
did performances. 

The Tornado 

in The Storm meet their equal in these 
views of the torrent which is let loose 
when the gate of a huge dam is lifted. 
The flash-and-cut system of film editing is 
used to work up a fever of suspense which 
film spectators will remember long. 

The picture may well be expected to 
record a notable success as a box-office at- 
traction and it will add to the already illus- 
trious name of Lincoln J. Carter as a 
writer of melodramatic stories. The adap- 
tation was made by Grant Carpenter and 
King Baggot directed it in a manner to 
reflect new brilliance to his record. 

Ruth Clifford, Richard Tucker, Snitz 
Edwards, Dick Sutherland and Jackie 
Morgan are prominent in a cast which is 
something more than adequate. The Tor- 
nado provides a tremendously thrilling 
hour or so of screen entertainment. 



err motion picTURrr 

Ineil I MAGAZINE j\ 



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OTION PICTURE 
MAGAZINE L 



Advertising Section 



Wfiy 

Aw America* Choice 



MADE FROM THE WORLD'S BEST 
NOVELS AND STAGE PLAYS 



"Three Women" 

By Ernst Lubitsch andMaxKraely. 

"Find Your Man" 

"The Lover of Camille" 

From David Belasco's Stage 

Production of Sacha Guitry's 

"Deburau." 

"This Woman" 
From the Novel by Howard Rockey. 

"The Narrow Street" 

From the Novel by Edwin Bateman 

Morris. 

"The Dark Swan" 

From the Novel by Ernest Pascal. 

"The Age of Innocence" 

From the Prize Novel by Edith 
Wharton. 

"The Lighthouse By the Sea" 

From the Play by Owen Davis. 

"A Lost Lady" 
From the Novel by Willa Cather. 



"A Broadway Butterfly" 

"The Bridge of Sighs" 

From a Song Theme by Charles 

K. Harris. 

"How Baxter Butted In" 

From the Play by Owen Davis. 

"Eve's Lover" 

From the Novel by Mrs. W. K. 
Clifford. 

"The Man Without a Conscience" 

From the Novel by Max Kretzer. 

"My Wife and I" 

"Recompense" 

From the Novel by Robert Keable, 
Sequel to "Simon Called Peter. 

"The Dear Pretender" 

From the Novel by Alice Ross 
Colver. 

"The Eleventh Virgin" 

From the Novel by Dorothy Day. 



Now Ready for the Season 1924-25 

DISPLAYING THE GENIUS OF LEADING 
STARS AND DIRECTORS 



Irene Rich 
Dorothy Devore 
Monte Blue 
Beverly Bayne 
Marie Prevost 



Louise Fazenda 
Willard Louis 
John Roche 
June Marlowe 
Ernst Lubitsch 



Harry Beaumont 
William Beaudine 
Phil Rosen 
Millard Webb 
James Flood 



At Leading 
'Theatres Everywhere 

WARNER bros 

Classics of the Screen ^% 



«c 



I 




WHERE CLASS/CSOE\ 
THE SCREEN ARE MADE?! 




Betty in another scene from Chu 
Chin Chow 



Betty Was a College Widow 

(Continued from page 29) 

from his flying feet with what looked like 
a safe hit to his credit. Then out in the 
"field" Betty's long, lithe, beautiful body 
shot into the air and one long, white arm 
shot up to its full stretch. 

A yell of triumph went up from her 
side as Betty "speared" the ball and put 
the runner out. 

I remember the first night of her ap- 
pearance as a vaudeville star. 

Her mother was the widow of a minister 
of the gospel and the family was very 
poor — the worst possible kind of poor — 
the poor of well-bred, cultured people. 
The kind of poor that hurts. So, to be 
frank about it, Betty had to go to work. 
The family had raked and scraped to 
educate her voice. The time had come 
for Betty to deliver. 

As I remember it, most of the football 
stars then out of the hospital attended 
Betty's vaudeville debut. Betty came out 
with some kind of a peacock gown and a 
bad case of stage-fright. She says it was 
a rotten vaudeville act ; but. anyhow, the 
football boys nearly raised the roof. 

It was the beginning of a long, hard 
struggle. 

There were times when it looked as tho 
Betty was due for a big success ; there 
were other times, in New York, when it 
looked as tho she had a fine chance liter- 
ally to starve to death ; when she had to 
do sewing for chorus-girls to get enough 
to eat ; when she found her adornment in 
taking the ribbons off the flowers that 
were sent her ; when it seemed, as she says, 
as tho there was just one too many people 
in the world: — and she was the extra one. 

But in those bitter days, Betty took her 
medicine without a whimper, as becomes a 
girl whose little-girl pals were football 
heroes, without one unbroken carcass be- 
tween them. 

She took her licking from Fate stand- 
ing up and smiling. 

And now that she is successful, famous, 
and in a fair way to be rich, she is just 
the same good sport as the tall, willowy 
girl who speared the hot-liner that nearly 
broke her fingers off on the beach that day 
at Balboa. 



98 

Gi. 



Every advertisement in MOTION PICTURE MAGAZINE is guaranteed. 



Advertising Section 



„,.v|0T10N PICTU 

101 I MAGAZINE 



What I Can Read in tke Faces 
of tke Film Stars 

MARY HAY 

{Continued from page 40) 

In the side of the head the appetite sign 
is full, showing a liking for food and a 
good judgment of foodstuffs. 

The cheeks show caution and good re- 
cuperative powers. 

In the chin and jaw we find persistency, 
affection and ability to call affection forth. 

The hands show an inspirational nature 
and independence of thinking. 

In summarizing her character, let me say 
that Mary Hay is very versatile, finding it 
difficult,. at times, to concentrate her efforts 
upon one thing ; that she is affectionate 
and swayed more by her heart than her 
head. She is a kindly person, with well- 
developed social instincts. 



HAROLD LLOYD 

(Continued from page 40) 

Making a general summary of his char- 
acter, I would say that Harold Lloyd is 
very enterprising, with good mentality and 
the business faculties well developed. He 
is serious, persistent and has a keen sense 
of humor. He is not forward, but will 
always look out for his own interests. He 
is a restless nature who likes plenty of 
activity, both mental and physical. 



RICHARD BARTHELMESS 

(Continued from page 41) 

The cheeks show a cautious, reserved 
nature, one able to keep a secret ; an honest, 
industrious, intense person with a great 
sense of fairness and justice. 

The mouth (upper lip) proves he is 
kind, charitable, sympathetic, that he can 
be firm, that he is not easily swayed, and 
that he has poise and self-control. The 
lower lip shows patriotism, a well-developed 
paternal instinct, clannishness, great love 
and interest in his home. 

The chin and jaw show a strong will, 
great determination, plenty of endurance 
and enjoyment of out-of-door life and 
sports. He must be active. Here, too, is 
shown a love of beauty. He is strong in 
his likes and dislikes, thoroly staple, and 
has well-developed business buffers. 

The hands show he is a frank, honest, 
outspoken nature, that he thinks inde- 
pendently and is not easily swayed. Here, 
too, we find dramatic ability and inspira- 
tional qualities. 

In summarizing his character, we find 
that Richard Barthelmess has a good men- 
tality, and is a person of quality and re- 
finement ; that his is an honest, intense, in- 
dustrious nature ; that he is bound to 
succeed. 

BEBE DANIELS 

(Continued from page 41) 

She is very sensitive. In fact, this, I 
would say, is her weakness, for she is over- 
sensitive and feels too deeply. 

Making a general summary of her char- 
acter, I find that Bebe Daniels is highly 
emotional, active and restless ; that she is 
intense, industrious and ambitious, with 
great nervous force and energy. She is 
broad-minded and highly independent in 
her actions and thoughts, with a good sense 
of fairness. Hers is a very affectionate 
nature, with great loyalty in friendship. 
She is a good sportswoman with a sense 
of humor, dramatic ability and plenty of 
fire and vim. 



And they didn't dream 

they could sell 

their stories 

Many new writers are winning outstanding success 
by writing for the screen and the magazines 



'? 




Harold Shumate 
Author of "The 
White Sin" and 
"The Last Kose 
of Summer." Mr. 
Shumate was for- 
merly a salesman. 



MAGAZINE editors and motion picture 
producers are searching as never 
before for stories that are gripping and new, 
and they ar; offering large prizes in addition 
to the usual ci.sh payments for acceptable 
material. 

This is indeed the day of opportunity 
for new authors, and scores of men and 
women who never dreamed that they could 
enter the ranks of the professional writers 
are actually selling stories to the magazines 
and to motion picture producers. 

The photographs of just five of these 
new authors are shown on this page, and 
the story of their success should be an 
inspiration and a guide to every man and 
woman who has the priceless 
urge to write. 

Scores of other students 
of the Palmer Institute of 
Authorship are also selling 
short stories, novels, plays, 
special articles and photo- 
plays. 

The list includes Phyllis 
Cumberland, who sold 
"Tangled Lives" to Thomas 
H. Ince; Theodore Harper, 
who wrote "The Mushroom 
Boy"; Miss Bernadine King, 
who wrote "What Did the 
Bishop Say?"; John M. Byers, who sold his 
first play to a New York producer; Charles 
Shepherd, who wrote "The Ways of Ah Sin"; 
Tadema Bussiere, whose play, "The Open 
Gate," was given its premiere at the Morosco 
Theatre, Los Angeles, in October, 1924; 
C. G. Raht, who sold "The Night Hawk" 
to Harry Carey, and Earle Kauffman, who 
won a 31500 prize with his 
scenario, "The Leopard Lily." 
Another Palmer student has 
just sold a novel to Double- 
day, Page & Co. 

Few of these writers had 
ever written a line for publi- 
cation before they enrolled 
with the Palmer Institute of 
Authorship. E < hel Middleton 

Author of "Judg- 
_ - -. - ment of the 

Learn the technique of storm,- one of 

the big screen 
WfltinP successes of re- 

* cent years. Also 

m , i i t • » published as a 

i hrough the Institute s novel by Double- 
course in Short Story Waiting da >"- Pa e e & c °- 
and Photoplay Writing they learned the 
technique of story building and plot develop- 
ment — they learned right at home in spare 
time to write stories and 
photoplays acceptable to edi- 
tors and motion picture pro- 
ducers — they learned how to 
write stories that sell. 

The Palmer Institute will 
not only teach you the pro- 
fessional technique of writing, 
but through its contact with 
editors and producers can be 
of very great help in en- 
abling you to sell your 
stories. The Institute's Story 



auffman, who 




Winifred Kimball 
Winner of tna 
$10,000 prize in 
the contest con- 
ducted by the 



Chicago Daily Sales Department has head- 
nu'eu-as" e oduced quarters in Hollywood, with 
by Goldwyn. representatives in New York 

When you write to advertisers please mention MOTION PICTURE 




Jane Hurrle 

We sold one of her 
stories, "Robes 




and Chicago — the leading literary centers 
of the country. 

Well-known writers 
help you 

The success of Palmer stu- 
dents is due simply and solely 
to the fact that you study 
under the personal direction 
of men and women who are 
themselves well-known au- 
thors, dramatists and motion 
picture writers. 

Fifty Free Scholarships and ° f Redemption.- 

a-nr\ ■ 1 1 to Allen Hulubar. 

two ^jUU prizes are awarded Miss Hunie also 
annually to deserving £ rot * o The . » eft 

, ' ° Hand Brand. 

students. 

Aiding in the work of discovering and 
training new writers are such distinguished 
men as Frederick Palmer, 
author and educator; Clay- 
ton Hamilton, well-known 
playwright and author- 
educator; Brian Hooker, for- 
merly of the faculty of Yale 
and Columbia Universities; 
Frederic Taber Cooper, au- 
thor-educator; C. Gardner 
Sullivan, screen writer and 
director; James R. Quirk, 
editor and publisher of Photo- 
play Magazine, and Rob 
Wagner, author and motion 
picture director. 

Write for this book and 
Free Creative Test 

The Pal mer Institute is unique among 
educational institutions because it seeks 
for training only those with natural creative 
ability who can profit by its instruction. 
Therefore, no one is invited to enroll for its 
home-study courses until he or she has 
passed the Palmer Creative Test. 

This test is the most novel means ever 
devised for enabling you to obtain an 
accurate analysis of your writing ability. 
The filling out of this Creative Test and our 
analysis and subsequent training have en- 
abled scores of Palmer 
students to sell stories and 
photoplays. Our Board 
of Examiners grades your 
reply without cost. 

Just mail the coupon 
and we shall, send the 
Creative Test to you free 
— together with our 96- 
page book, "The New 
Road to Authorship." 



Winsor Josselyn 
We sold two 
stories for him 
in less than two 
months --"Ribbon 
Counter Jumpers" 
and "Light Fin- 
gers and Toes." 




Palmer Institute of Authorship 
Affiliated with Palmer Photoplay Corporation 
Dept. 9-P, Palmer BIdg. Hollywood, Calif. 

Please serd me, without cost or obligation, a copy 
of your Creative Test, the 96-page book, 'The New 
Road to Authorship," and full details of the Palmer 
Scholarship Foundation, which awards SO Free Scholar- 
ships annually. I am most interested in — 
□ Photoplay Writing d Short Story Writing 

O English Expression O Business Letter Writing 



Address 

MAGAZINE. 



99 
PAG 



i 



QMOTION PICTURF 
Hell I MAGAZINE l 




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Advertising Section 
Trailing tke Eastern Stars 

{Continued from page 72) 

Mr. Sills' daughter joined him around 
the Christmas holidays, his wife having 
left on a trip to India. 

Did You Know That 

\li aey MacLaren, sister of Katherine 
MacDonald, married a British army 
officer and is now living with her husband 
in India? 

Betty Bronson, the screen's own Peter 
Pan, played one of the ghosts in Dick 
Barthelmess' picture, The Enchanted Cot- 
tage ? 

Rudolph Valentino speaks with an Ital- 
ian accent? 

Bebe Daniels has been seen frequently 
with Maurice, the dancer, but nothing more 
romantic to report? 

C idney Olcott, who has just completed 
work on his latest Paramount special, 
Salome of the Tenements, featuring Jetta 
Goudal, vows he made the first screen ver- 
sion of Ben Hur, and it was only a two- 
reeler. 

"A pyrotechnic display was given at 
Sheepshead Bay, about fifteen years ago, 
along with a much advertised chariot race. 
'Here's a beautiful opportunity to make 
Ben Hur cheap,' we all figured. So I took 
a cameraman and a couple of actors down 
to the track and 'shot' the race. A reel of 
interiors added to this and, presto, Ben Hur 
was screened !" 

Crances Howard has made good. Hav- 
ing been hustled into the role of the 
Princess in Paramount's version of The 
Swan, Miss Howard made good. This de- 
spite the fact that it was her first experi- 
ence in the movies and she Continued her 
work as leading woman in The Best Peo- 
ple, one of the season's stage hits. Frances 
has been cast by Paramount to play the 
featured feminine role in A Kiss in the 
Dark, adapted from the Cyril Maude stage 
success, Aren't We All? Adolphe Menjou 
and Ricardo Cortez are also featured. 

Ponway Tearle's wife, known in vaude- 

ville as Adele Rowland, a star song- 

and-dance attraction, took an unusual step 

for her, upon returning recently for a brief 

{Continued on page 105) 




100 

GE 



Keystone 

Albert E. Smith, President of the 

Vitagraph Company, and his wife, 

Jean Paige, returning from a vacation 

in Europe 



MAH JONG 

Learn This 
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in a Few Minutes 

Do you know how and when 
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Sounds mysterious and compli- 
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Mr. Eugene V. Brewster, 
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On sale at news-stands 
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Advertising Section 



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Tom Mix is again the dashing 
hero in Teeth 



Critical Paragraphs About 
Mew Productions 

(Continued from page 75) 

of such a story), Elliott Dexter and Zazu 
Pitts — particularly Adolphe and Zazu. A 
good number — and enjoyable. 

The Ridin' Kid from Powder River 

The old familiar cattle baron-nestor feud 
is on display in this Hoot Gibson cow- 
country melodrama. Which, of course, 
places the time around 1870. A prolog 
reveals a flash of Forty-niners being at- 
tacked by the redskins — and the plot fol- 
lows with an introduction of a youthful 
orphan who vows vengeance against the 
ringleader of a gang of bad men for kill- 
ing his aged benefactor. Which is the 
moment for the irrepressible Hoot to ride 
into the story. A time lapse of fifteen 
years passes — with Hoot getting his man 
in a honky-tonk. What follows is his 
effort to elude capture. The picture is 
interesting thru its characterization. 

The Border Legion 

Another picture of the great open spaces 
where cactus is cactus is on view in 
The Border Legion, adapted from one of 
Zane Grey's stories of the Old West. 

The characters are clearly defined and 
move against picturesque backgrounds. The 
hero is a killer — which naturally makes 
him a villain. But he wins the respect of 
the audience because he is honest in his 
villainy. Rockcliffe Fellowes, coming 
along fast these days, makes the character 
unusually vivid. There is a fine human 
quality about his work. A first-rate 
Western — far above the average. 

Christine of the Hungry Heart 

'The eternal triangle comes bidding for 
favors here in a story revolving around 
the neglected wife theme. As triangles go, 
this particular one fairly cries out for ro- 
mantic expression as the "central character 
has no less than three distinct amours. Of 
course, it would have been easy to have 
made this a sophisticated farce with Chris- 
tine a sort of feminine vainfix. But the 
title precludes any such possibility. She 
is starving for affection — and after marry- 
ing a young scapegrace she turns to a 
brilliant man of medicine and discovers 
that his profession takes him away from 
the fireside — she promptly elopes with a 
visionary playwright. And her last amour 
robs her of any sympathy. 

The picture is well produced and acted 
with sincerity and feeling by Florence 
Vidor. And Clive Brook makes a manly 
study of the surgeon — a very natural per- 
formance indeed. 

(Continued on page 103) 



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Pat O'Malley in his first feature 
picture, which was a circus story 



Irish — and in Love 

(Continued from page 27) 

look at me reproachful — like I had mur- 
dered his mother — and say, 'Dont you ap- 
preciate this' chance I am giving you to 
become an actor ?' 

"I told him it was the first time I ever 
knew an actor had to use a hammer ; since 
then I have found out different. 

"One day D. W. Griffith offered me a 
job at ten dollars a day. Then Alcott 
came and offered to raise me to thirty 
dollars a week, to play leads, if I'd stay. 

" 'Is this one of those leading parts I 
play with a hammer and nails ?' I asked. 
Alcott swore this was a regular part with 
nothing but honor and glory. 

"The company was about to go to Ire- 
land to put on a picture there ; but when 
we got there I found that part of my job 
was to square the police and borrow all 
the old furniture. 

"One day they asked me to get a bed 
that belonged to a queer old codger. I 
think it was the County Donegal we were 
in. They wanted to borrow the old fel- 
low's bed, but he wouldn't listen to it at all. 
Finally Alcott appealed to me to go down 
and wheedle the old man into it. 

"And so I did. I told him that all his 
relatives in America would be fancying 
that they, with all their riches, had it 
over him and here was the chance for him 
to show them such a bed as no one of them 
ever saw in their whole lives. And so we 
got the bed. And of course the prop men 
forgot to return it and a rain came on 
and here was the old fellow sitting up all 
night in the rain, without his bed to sleep 
in, and getting no better in temper as he 
got wetter. The next morning we heard 
that he was out with his gun to shoot the 
first motion picture man he saw. 

"And here comes Alcott and says : 'P?t, 
just go down and explain it to the old 
man, will you?' 

"And me being that good natured I 
never could refuse, I went down to be 
murdered. 

"I escaped with my life by joining the 
old man in his man hunt. I got a gun 
too and we went around together hunting 
for motion picture prop men with bor- 
rowed beds. And so we went from one 
saloon to another until the old fellow was 
so drunk he couldn't see a bed ; and so I 
didn't get killed." 

Pat says after all these adventures it 
was falling in love that turned his luck. 
He sot married and now he has the happi- 
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wife and three beautiful little daughters. 
And Pat says he cant understand how 
it is at all: but as he has stopped falling 
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Critical Paragraphs About 
New Productions 

(Continued from page 101) 

Married Flirts 

A lesson in morality is served up in 
this picture. For it tells of badly 
balanced marriages — of women who flirt 
with other women's husbands — of women 
who make careers and break their hearts. 
The film is adapted from Louis Joseph 
Vance's novel, Mrs. Paramor, and features 
a vamp who wins another woman's hus- 
band. She casts him aside and marries 
another man. And the outraged wife pro- 
ceeds to adopt the same tactics. She vamps 
the vamp's husband. A quartet of players, 
Mae Busch, Pauline Frederick, Huntley 
Gordon and Conrad Nagel, succeed pretty 
well in making it entertaining. 

The Great Diamond Mystery 

C^reat effort is made to build up a line 
of mystery in this picture, the plot of 
which doesn't warrant it. One looks for 
a story within a story when the heroine 
has a murder mystery tale accepted by a 
publisher. But it soon loses contact with 
this thread and develops around this very 
heroine attempting to prove the accepted 
theory that a murderer returns to the scene 
of his crime. 

Several convenient devices and loose 
ends are uncovered which tend to destroy 
the unity of the plot. One surprise is 
offered. The director does not show a last 
minute chase with the governor saving the 
youth with a "nick o' time" pardon. Shirley 
Mason is the star — and William Collier, 
Jr., the innocent boy she saves. 



I 



Roaring Rails 

t's good, old-fashioned, primitive melo- 
drama that is with us in this Harry 
Carey number. The star instead of driv- 
ing a horse of flesh and blood drives an 
iron horse in a picture which calls upon 
every conceivable element to bring forth 
unadulterated action, suspense, thrills, heart 
interest and sentiment. Villainy is painted 
in the deepest-dyed colors — and virtue 
wears a halo. 

The action comes right out in the open and 
tells of a locomotive engineer who permits 
his train to plunge over a bridge while 
rescuing a youngster from falling out of 
the cab. Discharged, the engineer becomes 
a hobo — and takes the kid along with him. 
And the tramp wins back a job, saves the 
(Continued on page 124) 




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"Close-Ups of Cut-Backs" 

{Continued from page 58) 

sophistication. I was the wife and while 
I sat at my window, I noticed out in 
the street that everybody was wearing 
a new hat. I wanted one and Bunny 
and I went out to shop. I tried on hat after 
hat and nothing pleased me. Finally, just 
as I saw the hat I wanted, another woman 
bought it, and walked out of the shop 
with it. In my frantic dash after her, I 
broke my leg. But I pursued her in a 
wheel chair and at last persuaded her, by 
offering twice the original price of the 
hat, to sell it to me. The last scene 
showed me wearing my new hat and a 
blissful smile, even tho Bunny had lost 
control of the wheel chair and I was 
coasting down hill. 

John Bunny was one of the most dearly 
beloved of the film stars, both in the 
studio and out, tho he was funny only 
when he worked. On the streets, people 
would follow him for blocks and call out, 
"Oh, Bunny !" 

Whenever he passed thru towns, he 
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escaped recognition. At baseball games 
he was received as the Prince of Wales 
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as soon as he sat down, with no work 
to do. Many was the tug at his sleeves 
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Bunny was the soul of kindness. When 
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what is every actor's dream of Paradise, 
a permanent home. He raised chickens 
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after he died, thai: rumor persisted, and 
people used to eye me first with pity for 
my bereavement and contempt afterward, 
if I laughed or jested. 

I was often recognized, but not so 




Charles Brown and Flora Finch in 

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Psychological Detective 

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F LYNN'S 

ISSUED WEEKLY 

WILLIAM J. FLYNN. EDITOR 
Twenty Five Years in the U.S. Secret Service 



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Ghost House Foxhall Daingerfield 

The Marchmont Mystery. . . .J. S. Fletcher 
Mr. Monacle of Manhattan 

Richard E. Enright 
The Sign of Evil Anthony Wynne 

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Forty Years a Manhunter. . .James Jackson 
The Sea Cook's Flight Charles Kingston 

Novelettes and Short Stories 

Craig Kennedy and the Compass — West 

Arthur B. Reeve 

Sheer Melodrama Edgar Wallace 

The Golden Gambler S. Andrew Wood 

Footprints of Guilt Mansfield Scott 

Harnessing the Earth 

Wright Beach Paulhan 
What Thought Did Ray Cummings 



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Advertising Section 

often as Bunny. And that reminds me 
about the "personal appearances" that 
were so popular. We were paid ten 
dollars every time we appeared in person 
in movie theaters, in conjunction with our 
pictures, and some of the best known 
stars today, who are careful never or 
hardly ever to let themselves be seen by 
movie fans on the street, were pleased 
beyond measure at this chance for making 
extra money. And quite a bit we made, 
too. Sometimes we visited several theaters 
in an evening, sometimes a few a week, 
but every little bit helped. We usually 
spoke about the picture, any difficulty in 
its making or kindred subjects. 

Movies were not so popular then as 
they are now, to be sure, but we each got 
our share of fan mail and how we 
cherished those letters. Every one of them 
was answered by hand and often accom- 
panied by a photograph. It was a great 
expense but worth it, for the realization 
that one pleases is always gratifying. 

Many of the old stars are now no 
longer heard from. Some have died but 
more have simply dropped out. Those 
who have remained are among the leading 
actresses and actors in the world and their 
success is, I feel, due in no small degree 
to the talent of Mr. Griffith. He discovered 
so many hidden talents. It took his un- 
erring eye to perceive Constance Tal- 
madge's gift for comedy, and her wild 
charm. He emphasized these qualities in 
Intolerance, where she played the mountain 
girl. He recognized Lillian Gish's wist- 
fulness. And Mary Pickford's winsomeness. 

My own talents lay in comedy, for 
which no doubt my physical appearance 
has fitted me. Altho I am about five 
and a half feet tall, I weigh only one 
hundred pounds, and from the start I 
have been in comedy. Some have said 
that I played in custard-pie comedies, 
but that is not true. I have never in 
all my days had a pie thrown at me, and 
that in itself is a distinction few actors 
in old comedies can claim. 



«ra!F 



Trailing trie Eastern Stars 

(Continued from page 100) 

stay in the two-a-day. Mrs. Tearle was 
advertised as Mrs. Conway Tearle. This 
marked the first time in her sparkling 
vaudeville career that she has abandoned 
the name, Adele Rowland. 

"Phe night Jack Pickford's charming and 
talented young wife, Marilyn Miller, 
appeared as the star of the musical-dancing 
version of Barrie's Peter Pan, the attentive 
Jack sent her an enormous floral gift. 
Enclosed in a miniature cabin, eight feet 
high and five feet wide, were flowers. The 
next day she sent her husband's offering and 
all flowers received to the children's hospital. 

D'essie Love is another Hollywoodite who 
has decided to make her home in New 
York. When Bessie came on to play with 
Tom Meighan in his last picture, Tongues 
of Flame, she liked our fit' town so much 
that after a serious confab, her mother re- 
turned to the Coast to dispose of their 
home. Bessie has her ukulele with her and 
is in the midst of assembling a Bessie Love 
jazz orchestra like she had on the Coast. 
Bessie sure strums a mean uke ! 

Darbara La Marr is one movie star who 
must work steadily in stories she likes 
or she becomes moody and unhappy. She 
is completing work in Hail and Farezvell, 
and when she talks about the picture, her 
eyes sparkle and she fairly radiates en- 
thusiasm. 



WURLlIZER 



Couldn't Play a Note — 

Now Makes $1 Af|22 

"*-M a week 




Read Bill Carola f s story in his own words — 

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I finally decided to try it a week, as you offered, and at the 
end of that time I found I could pick a few notes. Then I 
started the correspondence course you furnished, and in 
seven months, even before the final payments on the Banjo 
were due, I bad taken my place in a professional orchestra. 
Now I am making 1100 a week, three times what I made as 
a clerk. Two of my friends made money with their instru- 
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other a saxophonist, and neither could play a note when ho 
started. I wish everybody knew how easy it is — anyone who 
can whistle a tune can learn to play a musical instrument." 

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Name. 



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City 



Instrument • ■ 

(State instrument in which yon are interested) 



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MAGAZINE. 



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Advertising Section 

MAMEEf 



AGENTS WANTED 



Agents — Write for Free Samples. Sell Madison 
"Better-Made" Shirts for lurge Manufacturer di- 
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Many earn $100 weekly and bonus. MADISON 
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Agents — Quick sales, big profits, outfit free. Cash 
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and more every month taking orders for our sensa- 
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men of your town and county. Experience isn't 
necessary and spare time will do, provided you're 
honest, dependable and willing to work. If you 
are, write us at once to Dept. 222, WILLIAM C. 
BARTLETT, INC., 850 W. Adams St., Chicago. 



MISCELLANEOUS 



HELP WANTED 



All Men, Women, Boys, Girls, 17 to 65. willing 
to accept Government Positions $117-$250, travel- 
ing or stationary, write Mr. Ozment, 294, St. 
Louis, Mo., immediately. 

Girls, women, 16 up. Learn gown-making at 
home. Earn $25.00 week. Learn while earning. 
Sample lessons free. Write immediately. Frank- 
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Make money at home. Write show cards for us. 
We instruct and provide work. Particulars free. 
Kwik Showcard System, 62-K Bond, Toronto, 
Canada. 



HELP WANTED— FEMALE 



TJ. S. Government positions. Men, women, 18 
up. $95.00-$192.00 month. Steady. Paid vaca- 
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To-day, sure. Franklin Institute, Dept. W-99, 
Rochester, N. Y. 

Ladies Earn $6-$18 a Dozen decorating Pillow 
Tops at Home ; experience unnecessary. Par- 
ticulars for stamp. Tapestry Paint Co., 126, 
LaGrange, Ind. 



HELP WANTED— MALE 



Be a Detective- — Exceptional opportunity ; earn 
big money. Travel. Thousands of dollars offered in 
rewards. Established 1909. Particulars free. Write 
C. T. Ludwig, 556 Westover Bldg., Kansas City, Mo. 

Detectives Earn Big Money. Excellent op- 
portunity. Travel. Experience unnecessary. Par- 
ticulars free. Write, George M. Wagner, Former 
Government Detective, 1968 Broadway, New York. 



HEMSTITCHING AND PICOTING 



Hemstitching and Picoting. Do work for 
others. Attachment with instructions by mail $2. 
Works on any machine. Emb. Needle Free. 
Rebus Co., Cohoes, N. Y. 



HOW TO ENTERTAIN 



Plays, musical comedies and revues, minstrel 

music, blackface skits, vaudeville acts, monologs, 
dialogs, recitations, entertainments, musical read- 
ings, stage handbooks, make-up goods. Big cata- 
log free. T. S. Denison & Co., 623 South Wabash, 
Dept. 62, Chicago. 



MAIL ORDER METHODS 



?50 A WEEK EVENINGS HOME. I made it 
with small mail order business started with $3. 
Booklet for stamp tells how. Sample and pbin 
25 cents. One dozen Articles free. I trust you 
for $3. Almpe Scott. Cohoes, N. Y. 

MANUSCRIPTS WANTED 



I 



Let us type your photoplays and stories in cor- 
rect form and help you sell. FREE INTRODUC- 
TORY OFFER. Details on request. Cosmopolitan 
Authors' Bureau, Box 862, Dept. B, Chicago. 



FORMULAS— Processes, new. Easy to make — 
Sell Cold-creams. Beautifiers, Perfumes. Flavors, 
Syrups. Extracts, Beverages, etc. Valuable in- 
formation free. Meriden Co., Advertising Dent., 
3322 White Building, Seattle, Wash. 



MOTION PICTURE BUSINESS 

S35.00 Profit Nightly — Small capital starts you. 
No experience needed. Our machines are used and en- 
dorsed by government institutions. Catalogfree. Atlas 
Moving Picture Co., 431 Morton Bldg., Chicago. 

NEWS CORRESPONDENCE 



Earn $25 weekly, spare time, writing for 
newspapers, magazines. Experience unnecessary. 
Copyright book free. Press Syndicate, 961, St. 
Louis, Mo. 



OLD MONEY WANTED 



Old Money Wanted. We paid $2,500.00 for one 
silver dollar to Mr. Manning, of Albany, N. Y. 
We buy all rare coins and pay highest cash pre- 
miums. Send 4c for large Coin Circular. May 
mean much profit to you. NUMISMATIC BANK, 
Dept. 48, Fort Worth, Texas. 

$2 to $500 Each paid for hundreds of old or odd 
coins. Keep ALL old money. It may be VERY 
valuable. Send 10 cents for illustrated Coin Value 
Book, 4x6. WE PAY CASH. Clarke Coin Co., 
L St., Le Roy, N. Y. 



PATENTS 



Inventors — Write for our free illustrated guide- 
book, "How to Obtain a Patent." Send model or 
sketch and description of your invention for our 
opinion of its patentable nature free. Highest refer- 
ences. Prompt attention. Reasonable terms. Vic- 
tor J. Evans & Co., 833 Ninth, Washington, D. C. 



PHOTOPLAYS 



Send to-day for free Copy Writer's Digest. 

Tells how to write and sell short stories, photo- 
plays, poems, songs. Writer's Digest, B-22, East 
12th St., Cincinnati. 

Stories and Photoplay Ideas Wanted by 48 

companies ; big pay. Details free to beginners. 
Producers League, 441, St. Louis, Mo. 

$ $ $ FOR PHOTOPLAY IDEAS. Plots ac- 
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Western Avenues, Hollywood, California. 

Successful Photoplays Bring Big Money. Our 

new book, "Successful Photoplays," gives full in- 
structions for writers. Send for free copy. Suc- 
cessful Photoplays, Box 43, Des Moines, Iowa. 



STORIES WANTED 

Earn $25 weekly, spare time, writing for 
newspapers, magazines. Experience unnecessary. 
Copyright book free. Press Syndicate, 960, St. 
Louis, Mo. 

Story Ideas Wanted for photoplays and maga- 
zines. Big demand. Accepted in any form. Re- 
vised, typed, published, sold on commission. Send 
manuscripts for free criticism. Universal Scenario 
Corporation. 300 Security Bldg., Santa Monica and 
Western Ave., Hollywood, Cal. 

Stories, Poems, Plays, etc., are wanted for pub- 
lication. Good ideas bring big money. Submit 
MSS. or write Literary Bureau, 134 Hannibal, Mo. 

Short stories, novelettes, articles, etc., revised 
and typewritten in proper form and placed on the 
market. Send manuscript or write H. L. Hursh, 
Dept. 2, Box 1013, Harrisburg, Pa. 



TYPEWRITERS 



Underwood Typewriters — Only $3.00 down. Easy 
monthly payments. Low prices at less than manu- 
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year guarantee. Write for big free catalog 3657. 
Sliipman Ward Mfg. Co., 3652 Shipman Bldg.. Chi- 
cago. 111. 



VAUDEVILLE 



(iet On the Stage. I tell you how! Personalitv, 
confidence, skill developed. Experience unneces- 
sary. Send 6c postage for instructive illustrated 
Stage Book and particulars. M. I.aDelle. Box 557. 
Los Angeles, Cal. 



Romol 



omola 

(Continued front page 93) 

eyes toward the door where his jailer 
stood beckoning. The man answered the 
question of his look. "Savonarola was 
burned at the stake at high noon," said 
he with unction, "but his heart was found 
whole in the ashes and would not burn. 
People say it is a sign they have killed a 
holy man and they are hunting for Tito 
Melema to take the blame of the deed! - ' 
Tito Melema's destiny, which had led 
him to become the idol of Florence, led 
him to the end which he had chosen for 
himself three years before when he first 
set foot in the city with his pockets full 
of jewels worth a man's ransom. It was 
not until several days later that they found 
him, no longer handsome, no longer tri- 
umphant, in the ooze far down the river 
into which he had plunged to escape the 
fickle mob. Beside his body was another 
body, that of a wrinkled beggar with the 
scars of serfdom on his back and one 
clawlike hand gripped so tightly about 
Tito's throat that it could not be pried 
loose. The ransom had been paid in full. 

Qn a fair spring day, when the hillsides 
above Florence were starred with peach 
blossoms and the dome of the Duomo was 
set in a sky of blinding blue, Carlo Bu- 
cellini stepped once more thru the bronze 
gates of the Palace Bardi. But now his 
feet did not turn toward the dim library 
with its scent of antiquity. A scream of 
childish laughter drew him to the loggia 
with its outlook over the roofs of Florence 
and the hills beyond the Arno. 

A tiny boy with bold, beautiful, dark 
eyes dashed by him and a woman's tones 
rose in delighted protest, "Oh, Tito ! What 
a wicked one — whatever shall I do with 
you?" 

"Dont scold him, Tessa!" Romola's 
voice answered ; and then, in a rich throaty 
croon, "see ! she is asleep. I am almost 
afraid to breathe." 

Thru the doorway he saw her in a 
gown of some blue stuff bending above 
the baby in her arms and he looked away. 
What man, he thought, was worthy to 
gaze on such a sight? Then her eyes 
lifted to him, and she laid the child in the 
arms of the pretty peasant woman, who 
hurried by him with a stare of curiosity 
from wide childish eyes. 

"Some day," said Carlo, standing before 
her, "I shall paint you as a Madonna." 

"Tessa's baby," Romola said gravely, 
"will soon be too big to hold." 

A silence fell between them, full of un- 
spoken things. And then far in the dis- 
tance the bells of the Duomo began to 
ring. Romola turned. "They are the first 
sounds I can remember. They will be 
ringing centuries after we are gone." 

The sun was warm upon Carlo's head. 
Life ran thru his veins. He leaned toward 
her with a quivering laugh. "But now — . 
we are here, Romola! The world belongs 
to us for a little while. Some day I shall 
tell you a story of a man who lived among 
dreams because he was afraid of reality, 
until his eyes were opened and he saw that 
Life was more beautiful than any dream 
could be " 

He stopped, trembling at his daring. 
Perhaps he had frightened her — perhaps 
she would draw away in anger. But the 
little hand lying close to his did not stir 
and he dared to raise his eyes to her face. 

No martyr this, with the tender little 
smile upon her lips, but a girl with sweet 
color in her cheeks. 

"Why wait for some day?" said Ro- 
mola. "Tell me now " 



106 



Every advertisement in MOTION PICTURE MAGAZINE is guaranteed. 



Advertising Section 



OTION PICTUR] 

MAGAZINE 



On tke Camera Coast 

(Continued from page 88) 

have been filming Peter B. Kyne's Never 
the Twain Shall Meet, under the direction 
of Maurice Tourneur. 

T-Tenry Lehrman has had another un- 
A fortunate love affair. He is suing 
Mary Alice Lehrman for divorce. They 
were married in 1922, and he says she 
offended him by throwing the household 
furniture at him. 

At this writing, Hollywood is in a state 
of bewildered excitement as to whether 
or not D. W. Griffith is coming back to 
California. Joseph Schenck, the new boss 
of the United Artists, says in great con- 
fidence that he is, and from the Griffith 
office in New York comes the equally con- 
fidential whisper that it's all bunk; he 
isn't. As every one knows, Mr. Griffith 
dislikes California, but he has found pro- 
duction in the East to be impractical. 

Another social explosion ! Jacqueline 
Logan's mother comes to the front 
and announces that it is absurd to sup- 
pose that she would allow her angel child 
to become engaged to George Melford, her 
director. "Why," she said, "do you sup- 
pose I would allow Jackie to be engaged to 
a man who already has a wife? Anyhow, 
he is too old for my baby girl. She is 
not yet twenty-two." 

Jacqueline, for her part, corroborates 
the fact that Hollywood's most sensational 
romance is at an end. "There never was 
an engagement," she explains. "As he 
was my director, there was bound to be 
a little attachment." 

'M'azimova's worries are over. She 
started the making of Madonna of tin- 
Streets with the very frank statement that 
she didn't know whether or not the public 
would continue to accept her. The result 
of that picture was a triumph, at least, for 
her personally. As a result, she is making 
another picture; it is The Pearls of tin- 
Madonna, with J. Stuart Blackton, for 
Vitagraph. After finishing this, she is 
to be starred in a series of pictures _ by 
Edwin Carewe. She appears to be just 
as strong as ever with the public. 

Ann Cornwall, after a long absence 
from the screen, is with Douglas Mac- 
Lean as his leading lady. 

George Fawcett is to play the part of 
the old king in The Merry Widoiv, with 
von Stroheim directing. 

James Kirkwood is going back to the 
stage again. 

Margaret Edwards, the young girl who 
took the breath away from the film world 
some years ago by appearing in Lois 
Webber's Hypocrites absolutely unclothed, 
is back in Hollywood. She is looking for 
a film engagement — this time with clothes. 

Hal Roach has sent a company out to 
Nevada, with his horse, Rex, to try to 
round up and picture the last band of wild 
horses in the United States. 




LOOK 20 YEARS YOUNGER AT ONCE 




Would you like to know what made the wonderful change in this 
woman's face in five minutes; lifted the sagging facial muscles, smoothed 
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This is the wonderful invention 
of the fertile brain of 

If you will write us for informa- 
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about it. 

Miss Cocroft's name is sufficient guarantee of its genuineness. 
GRACE-MILDRED CULTURE CO., Dept. 14, 1991 Broadway, New York 




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NewWaytoFind and Correct 
YourMistakesin ENGLISH! 

Every time you spcal: or write jou show just what you 
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How To Develop 

The Bust 

,4LL the charm of perfect worn a.'n hood can be yours — ■ 
jTX all the beauty and captivating grace that is your 
birthright — all the artful, delicate allurement that makes 
you first a woman — God's Masterpiece — man's idol. You 
can be made perfect in your witching beauty. 

There IS A Way! 

THIS BEAUTIFUL WOMAN learned the 
secret. Her story is interesting. It will solve your 
problem, no matter what the cause of your flat 
figure. 

After trying all methods, Dorothy Stahl found 
a way by which the busts can be quickly and safely 
developed to their normal size and beauty. Her 
photograph shown here, was taken after receiving 
this development. She writes: "Everyone thinks it 
is remarkable ichat J have accomplished in developing 
my busts, bringing them back again to the contour of 
the body. Anyone can accomplish the same results 
thai I did." 

If you wish to learn how she produced this beau- 
tiful development, write us at once. This method 
is within reach of every woman. It can be used in 
the secrecy of your own room If not delighted 
with results in 30 days, your money cheerfully re- 
funded. There is no other method as safe, effective, 
harmless and sure 
Send your name and address today, enclosing 4c stamps, if you wish this information sent under sealed 

postage. We will send surprising photographic proof showing as much as five inches enlargement by this 

method, all sent under plain wrapper. 

THE OLIVE COMPANY, Dept. 205 CLARINDA, IOWA, U. S. A. 



When you write to advertisers please mention MOTION PICTURE MAGAZINE. 



107 
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^MOTION PICTURp 
El I MAGAZINE L. 



Advertising Section 





Many a poem has been written about Mi- 
lady's fingers. Many a picture has been 
painted. But never a poem, or never a pio 
ture that equals the grace and loveliness of 
beautiful nails themselves! 

Now that Glazo has made them a matter of 
seconds, there's no longer any reason why 
the hands of even the busiest woman should 
not always look their loveliest. 

Just a deft touch with the handy Glazo 
brush once a wee\l That's all you need to 
keep your nails in the pink of condition and 
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water will not dull your Glazo manicure, 
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tected by this splendid polish. 

Use the Remover that comes 
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GLAZO is the original Liquid Polish. It 
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GLAZO 

Nails Stay Polished Longer — No Buffing Necessary 
Try QLAZO Cuticle Massage Cream 

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For trial size completeGLAZO Manicur- 
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margin, tear off and mail with 10c to 
The Glazo Co., 23 Blair Ave., Cincinnati.O 

108 

0B. 




Mary Fuller and Maurice Costello, great favorites of the early days, 
in a scene from Dr. Le Fleur's Theory, produced in 1907 

The Movies Are Growing Up 

(Continued from page 55) 



machinists, carpenters, architects, design- 
ers, interior decorators, animal trainers 
and efficiency experts we have today. 
Anybody who wasn't needed as a lead in 
a picture cheerfully played as extra. Per- 
haps, on the whole, this is the greatest 
difference between then and now ! I have 
stills in my desk showing Earle Williams, 
Norma, Constance and Anita as a part 
of the mob. There was one silent, foreign 
chap who often worked in mob scenes for 
two dollars a day, who is now the ruler 
over fifty-million people. His name was 
Leon Trotzky. 

Most of the men had been connected 
with the theater in some way, but when- 
ever we needed a pretty new girl we 
went over to Erasmus Hall High School 
and picked her out. A dark-haired little 
freshman who gabbled her Latin grammar 
in the corners of the studio between scenes 
was named Norma Talmadge. Then she 
got two dollars a day for her services. 
Her pictures bring in nearer two thousand 
dollars a day now. 

The atmosphere of the studios in those 
days was that of a big family circle ; the 
women sat around, making over the gowns 
in the wardrobe for their parts and ex-' 
changing recipes ; the men talking about 
their cars and chickens and homes. 
Temperament as an alibi for tantrums 
hadn't been discovered yet, and the direc- 
tors didn't wear short pants ! 

Costello was the highest-paid player 
in the movies ; there were no such things 
as "stars," by the way, with a weekly 
wage of three hundred dollars. John 
Bunny came next and then the rest of 
the leads, men and women getting about 
a hundred and twenty-five. If a director 
got seventy-five a week he privately con- 
sidered himself overpaid. In those days 
picture people congratulated themselves 
on having a steady job, fifty-two weeks in 
the year, instead of the heartbreaking lay- 
offs of the theater. I think we all got 
an artistic thrill, a satisfaction in our 
work which didn't show in the salary 
check, but which many fabulously paid 
movie stars dont get nowadays. 

When you compare figures like this 
with the twenty-five hundred and three- 
thousand-dollars-a-week salaries of the 
present day they sound like pocket money, 
but, after all, fifteen years ago a screen 



actor didn't have the expenses he has 
now : managers and agents ; publicity men, 
to tell a breathless world what kind of 
soap he uses in his bath ; divorces, in- 
come taxes, twelve-thousand-dollar cars, 
bobbed hair, fan photographs by the bale, 
lawyers' fees for examining contracts, 
bootleggers and borzois. 

And then, too, you must remember that, 
tho a few stars of great box-office 
value get a huge salary now, many fine 
players — indeed the majority — receive 
under a thousand a week, and there are 
featured actors, and even stars, whose 
fan mail helps support the government, 
getting no more than a hundred and fifty 
in their Saturday pay envelopes. 

Moving pictures in 1910 meant, quite 
literally, pictures that moved, horses 
galloping, men fighting, Indians creeping, 
"knock-downs" and drag-'em-outs" in 
studio slang. The first two-reel picture 
ever made, Job's Picnic, had already ap- 
peared at that time, but the average length 
of a film was one thousand feet or one 
reel. Naturally, in that length there was 
no time for the depicting of subtle emo- 
tions or intricate plot. A picture took a 
week to make, and we cut and titled an 
average of a picture a day at the studio. 
The first three-reel picture, Vitagraph's 
Love's Sunset, was also the first quiet- 
action picture ever made. The Little 
Minister, released in 1912 in three reels, 
was referred to in the newspapers as a 
"Gigantic Production" and a "Super 
Feature." 

In those days the usual program at a 
movie house consisted of five one-reel 
pictures, a scenic, and an illustrated song 
with garden gates, violently pink rose- 
arbors, vividly green woodland glades, 
young ladies with pompadours being 
wooed by young men in checkered suits 
under a bright yellow moon. The motion 
pictures had a trade-mark pinned onto 
the walls of the interior sets and onto a 
a tree trunk in the exteriors to prevent 
piracy ; they fluttered and flickered and 
the legend "One Minute Please to Change 
the Film" interrupted at exasperatingly 
tense moments when the heroine's hair 
was coming down as she struggled with 
the villain in the deserted cabin while the 
hero rode "tlot-tlot" to the rescue over 
(Continued on page 113) 



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That's Out 

{Continued from page 67) 

a bright future. Then suddenly something 
happened. Eleanor seemed to slide back- 
ward instead of forward. In the past year 
she has been eclipsed by several other 
young actresses who have come rapidly to 
the fore. The writer has always felt con- 
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is comforting to note that this capable 
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In Sinners in Silk Eleanor gives a per- 
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The Prize Film of 1924 

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Boy of Mine was great because of its 
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So far as continuity and treatment are con- 
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But perhaps its naturalness and unpre- 
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{Continued on page 117) 




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Confidences Off- Screen 

{Continued from page 25) 

darndest to wish trivial parts upon him. 
But he has maintained his standing as a 
free-lance without long-term contracts, and 
so has been able to fight for his own way 
and sometimes to get it. In The Great 
Divide you will see him in a role he con- 
siders ideal for his talents. 

Xow, as to the critics, Mr. Tearle feels 
that their opinions are of almost no value 
to an actor. He declares they are a 
jaded lot who sit thru so many pic- 
tures every week that only the bizarre, 
the unexpected twist, can stir them to 
enthusiasm. They overlook the simple 
human values that appeal to the masses, 
especially to the public of the small towns 
on which the prosperity of the cinema 
depends. Newspaper critics write their 
stuff too speedily to be just, and the maga- 
zine reviewers are little better. But the 
fans are on to them, and their judgments 
have no great weight in helping or hurt- 
ing the popularity of a player. He — Con- 
way Tearle— has been consistently knocked 
by the critics, yet he has built up a 
following. 

Specifically answering a question in your 
letter, he wears indifference like a suit of 
armor against the lack of appreciation he 
has encountered among writers. I fear he 
is somewhat disillusioned regarding the 
sweets of fame. He says he would rather 
play the piano than read any comments, 
favorable or unfavorable, on his work. 

Chit-Chatting with Corinne 

T called on sweet Corinne Griffith at 

the St. Regis not long ago, with the 
idea of interviewing her about her new 
contract with First National, the pictures 
she planned to do, and such like portentous 
matters. It didn't take five minutes to 
discover that the contract had been signed, 
and that she was to commence work im- 
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best part of the visit — an hour's chat on 
things in general, an hour in which I was 
able to study the versatile appeal that has 
made her the favorite she is. 

Miss Griffith, in the first place, has a 
nice sense of humor. She told me about 
an odd individual, who had telephoned one 
morning at nine o'clock and had started 
in as follows : 

"I detest motion pictures. It bores me 
horribly to have anything to do with one. 
I have no use for movie actresses " 

At this point her husband, Walter 
(Continued on page 116) 



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"The Story of My Life 

(Continued from page 96) 

willow plume, a lace coat and a silk um- 
brella to complete the elegance of my cos- 
tume, and went out to the 101 Bison Co. 
Studio, the company that later became the 
Triangle. Cowboys, Indians and other in- 
habitants of the great open spaces were 
hanging about the outside of the frame 
building. A lady studio manager took my 
name. She was Bebe Daniels' mother. 
While I waited to see the director I 
glanced about at the other women who 
were also waiting, and my heart sank. 
One of them was smoking a cigaret. The 
girl beside me wore a shirtwaist with a 
V-neck, too low to suit my ideas of pro- 
priety. I began to wonder whether I were 
not in a sink of iniquity, such as I had read 
about, and when I was ushered into the 
director's office I was sure of it. He sat 
and stared at me, his eyes never leaving 
my face as I told him of my ambition to 
become a picture star. By the time he 
spoke I had made up my mind that if I got 
safely away I would never come back. 

He offered me a part in a picture which 
they were going to begin making the next 
morning. With trembling knees I got up 
and, murmuring something, fled for the 
door, as later I was to flee from dark- 
browed villains. Afterward I learned that 
the poor man was quite deaf and, being 
too proud to confess it, had formed the 
habit of watching people's lips and read- 
ing them. But I did not return the next 
morning, and that ended my first expe- 
rience with the movies. 

My funds were very low, so I accepted 
the best thing I could find, a part of a 
"sister act" in a Los Angeles vaudeville 
house, and at the same time went out to 
the Biograph Studio, where the Lloyd 
Hamilton comedies are made now, and reg- 
istered, without much hope, for the Bio- 
graph was the aristocrat of filmdom. Mr. 
Griffith saw me as I came out and had a 
man follow me to find out where I lived. 
When I came home from the first night of 
the "sister act," there was a 'phone call 
telling me to report at the Biograph Studio 
the next morning! 

Mary Pickford had just left the com- 
pany. Mr. Griffith asked me a few ques- 
tions and then abruptly offered me a small 
part. "Take off your hat now," he said; 
"you can begin work right away." 

I could hardly keep from crying as I 
explained miserably that it wouldn't be 
honorable for me to leave my act without 
notice. He shrugged his shoulders and 
glanced away — and my second chance was 
gone! Unfairly enough, I connected my 
disappointment with that wretched "sister 
act" and hated it religiously, tho I stuck 
it out. The stage manager, who tried to 
cover a soft heart with a gruff exterior, 
told me I ought to be in pictures and he 
was going to get me in, but I did not take 
him seriously. By this time I had met 
most of the movie people, and Mack Sen- 
nett used to call me up and tell me he had 
a part for me in one of his comedies. 

"Is it the lead?" I would ask. The nerve 
of me! "I'll succeed or fail as a lead, but 
I wont do bits or atmosphere or extra." 

"You certainly are independent, young 
lady !" Mack would grumble. 

I was doing a "single" in vaudeville at 
San Diego when I got an offer to sing 
soubrette in a musical comedy. They 
wanted to sign me up for ten weeks, but 
I would only promise to try it out for two. 
I traveled all night to attend the first re- 
hearsal, and found a message waiting me 
at home, "Mr. Chandler of Kalem wants 
you to call him up." 

(Continued on page 114) 



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The Movies Are Growing Up 

{Continued from page 108) 

the hills, and the theater owners rattled 
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It wasn't until 1914 when the Vitagraph 
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movie ever ran continuously without a 
break between reels. 

A one-reel picture cost at the most 
one thousand dollars, or a dollar a foot. 
Now we try to keep the cost down to 
twenty thousand a reel or twenty dollars 
a foot. Most of the expense of a picture 
fifteen years ago was the actors' salaries. 

A set was considered ruinously extrava- 
gant if it cost more than seventy-five 
dollars. It consisted of two walls coming 
together at right angles and much of the 
furniture was painted on the wall. If 
a character slammed the door, the whole 
room visibly swayed. Stone walls did not 
a prison make in those days — they rippled 
in the breeze if anyone passed. When we 
needed furniture we sent out some of our 
actors to borrow a parlor set from some 
of our neighbors close to the studio lot. 
And if any piece of borrowed furniture 
showed great dramatic talent, it was likely 
to stay borrowed for a long time ! 

Naturally, as a result of the various 
tastes of the householders around Flat- 
bush, our sets displayed Chippendale and 
mission, chummily side by side with soap 
premium plush chairs and bead portieres. 
Nowadays it takes artists, interior decora- 
tors, antiquarians, architects, sculptors, 
cabinetmakers, drapers and set dressers, 
to turn out a drawing-room scene costing 
sometimes as high as thirty thousand 
dollars, and then perhaps the whole 
sequence in which it is used may be cut 
out of the picture! 

The price paid for a scenario in 1910 
was fifteen dollars, and every morning 
brought several bushels of them in the 
studio mail. We used only originals, 
naturally, on a thousand-dollar budget. 
So the actors often wrote their own 
scripts. (If they were allowed to write 
them nowadays, there would be only one 
character in the cast ! ) And if a scenario 
was needed for Monday morning, the 
director, or one of the producers or per- 
haps the janitor, would stay at home from 
the Saturday ball game and turn one out 
on a couple of sheets of foolscap. There 
was plenty of room on the two sheets for 
(Continued on page 118) 

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Dept. 302, 305 Broadway, New York City 



iARLE E. LIEDERMAN 

Dept. 302, 305 Broadway. New York City 
Dear Sir: — I enclose herewith 10 cents, for which you 
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The Story of My Life 

{Continued from page 112) 

Mr. Chandler was the gruff, kind- 
hearted stage manager ! I telephoned him 
and he told me to go to Long Beach that 
evening and see Mr. Hardigan, the direc- 
tor, because he needed a leading woman 
for Westerns and he had made him promise 
not to engage anyone until he had seen me. 

All day I rehearsed the songs and steps 
for that musical comedy, and at seven, 
after twenty-four hours without a chance 
to so much as comb my hair or powder my 
nose, I appeared at Mr. Hardigan's house. 
It was a new house and the lights hadn*t 
been turned on yet. We talked in the 
dark front-parlor with only the faint ra- 
diance from the street lamps. 

"What do you want for a salary?" he 
shot at me suddenly. I did some quick 
thinking. I was getting a hundred a week 
in the musical comedy company, but I 
knew that was beyond the reach of a movie 
company. I have always had hunches, and 
when I follow them I never go wrong. ' I 
had a hunch now that it would be worth 
my while to make a sacrifice to get into 
the pictures. 

'Would— would thirty-five a week be 
too much?" I asked. 

"N-no, it wouldn't be too much," came, 
non-committally, from the darkness. Then 
he got up. "Wait, I'll bring a lamp and 
take a look at you !" He brought in an 
old-fashioned oil-lamp and, holding it close 
to my face, examined me for a moment 
while I wondered miserably if I had a 
smootch across my nose. Then he set the 
lamp on the table. "Very good ! You will 
start Monday!" 

And there I was, saddled with a two- 
weeks' promise to play in that wretched 
musical comedy! "Mr. Hardigan," I said, 
swallowing hard, "I'd do almost anything 
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promise," and I told him the whole situa- 
tion. 

"I'll hold the position open for you for 
a week," he offered, "and that will give 
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I went to the musical comedy manager, 
Mr. Leroy, and threw myself on his mercy. 
Would he let me off from my second 
week's contract now that he knew how 
much it meant to me ? Hurrah ! He 
would ! And a week later I did my first 
day's work in the films. 

The studio "lot" at Santa Monica 




114 

Gf. 



H. B. Warner, one of the screen's 

greatest actors, in a famous old 

picture, A Splendid Hazard 

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Advertising Section 

boasted a single wooden set, bought from 
Broncho Billy Anderson, painted on one 
side to represent the interior of a house, 
on the other to represent the inside of an 
office. A tumble-down barn served for a 
studio ; the stalls were our dressing-rooms, 
with a shelf across one end at which we 
stood to make up. 

The picture was called The Chance Shot, 
and in it I had to be tied to a tree by 
Indians. The rope burned the skin off 
my wrists, but I insisted I was quite com- 
fortable, thank you. It was Decoration 
Day, I remember, and some three hun- 
dred picnickers stood about munching 
bananas and chicken sandwiches and 
staring at me with audible comments ; but 
I didn't care. I was in the movies at last 
and I was happy. 

I stayed in Westerns for a few months 
and then switched over into comedies, while 
my salary gradually rose to fifty a week. 
When it reached that figure I began my 
real estate career by paying ten dollars 
down on a lot and agreeing to pay ten 
dollars a month. It was'nt very much of 
a lot — in fact, I have it on my hands to- 
day — but it taught me the fun of saving. 

When Mack Sennett made me a munifi- 
cent offer to go into his comedies, Kalem 
countered by raising my salary to ninety- 
five a week, and so a year after I entered 
the pictures I was making almost as much 
as I had given up on the stage. 

They called me "The Kalem Girl." A 
number of future stars were in my com- 
pany : Marshall Neilan, Mildred Harris 
(then a little girl with long, corkscrew 
curls), Bebe Daniels, Lloyd Hamilton, 
Seena Owen, Jane Novak and Wes Barry. 
When the comedies began to get rough 
and I saw custard pies coming, I asked 
to be moved to the Kalem dramatic lot and 
my lurid career as the most persecuted 
girl in pictures began. In my long serial 
career I have been on the point of scenario 
decease from dynamite, poison, cobra bite, 
hanging, suffocation, wild beasts, fire, 
falling from a cliff, being sawed in two in 
a mill, and a hundred other terrors, at 
the end of each instalment of a twelve- 
part serial, only to be saved the next week 
by a brave, handsome hero who never got 
his beautiful white silk sport shirt mussed 
or his hair ruffled, no matter what he went 
thru. 

I wonder if many movie actresses have 
had the fun I have had making pictures ! 
I've loved every minute of the last twelve 
years, even the times when there was real 
danger in the action — and there were many 
times like that — in lurid thrillers like The 
Red Circle, The Tiger's Clazv, Who Pays? 
Hunted Valley, and The Avenging Arrow, 

And the best part of my story is, that, 
like my serial pictures, it ends with a sub- 
title, What Happens to Ruth Now?. Con- 
tinued Next Week! 



NEXT MONTH : 
Where the Atmosphere Is> At 

By HARRY CARR 

Inside Secrets About "Location" 

Egypt and the Pyramids and the 
River Nile are all just a stone's 
throw from Hollywood. So are the 
South Sea Islands and Scotland and 
the Canadian Northwest — at least, 
the way they ought to look, even 
if they dont. 





Gabriel Andre Pelit 
Art Director 



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FIRESIDE INDUSTRIES 

Dept. 272, Adrian, Mich. 




FIRESIDE INDUSTRIES, Dept. 272, 
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City State. 



When you write to advertisers please mention MOTION PICTURE MAGAZINE. 



115 P 

PAGli 



/THMOTION PiCTURF 
UWI I MAGAZINE I- 



Advertising Section 



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Confidences Off-Screen 

(Continued from page 111) 

Morosco, who had tumbled out of bed to 
answer the call, hung up, with an un- 
quotable remark. 

"The fellow at the other end of the 
wire was no fool, all the same," smiled 
Corinne. "It turned out he was a writer 
■ — I met him later — who had a story to 
submit to me. His greeting was for the 
purpose of arousing my interest, and was 
to have concluded with the statement that 
the sole person in the business who had 
earned his homage was Corinne Griffith. 
A regular go-getter's line, that might have 
worked, but for one miscalculation — he 
shouldn't have 'phoned as early as nine 
o'clock." 

She spoke of the old days, when she 
was working for Biograph, and when de- 
ciding on a new picture was a matter of 
running to the corner, buying the latest 
magazine and seeing what plots they had 
to offer. Movie rights could be had from 
the author for a few dollars, and Miss 
Griffith isn't so sure that the present 
costly, much-advertised productions haven't 
lost some of the esprit of their fore- 
runners. She regrets the funny stuff 
that has been refined away. Pie-throw- 
ing was all right, in its place. It was 
naive, but it moved one to an honest, 
pungent mirth, she said. 

Nevertheless, she was very happy about 
Declassce as her next vehicle, and assured 
me that the picture would keep closely 
to the drama as played by Ethel Barry- 
more on the speaking stage. Miss Griffith 
does not believe in revamping plots that 
have proved their worth. She is also 
opposed to changing titles, and in this 
case she has won a long fight to keep 
the name. Certain objectors on the pro- 
duction end urged that a French word like 
Declassee would not be understood in "the 
sticks," that it would seem pretentious and 
scare away patrons who didn't know even 
how to pronounce it. But Miss Griffith 
held that if it was good enough to accom- 
pany the play to success, it was good 
enough for her. The meaning will be 
explained in the advance publicity, and 
she thinks the public will approve. 

To Correspondents 

[ have had many letters asking me to 
interview this or that star, and sug- 
gesting subjects. Please keep on writing. 
I am delighted to hear from you. Your 
most interesting questions will be answered 
in the department — by the stars, thru 
me. But dont expect action earlier than 
the number dated three months after you 
write in. We go to press 'way ahead of 
time, you know. 

Addressing myself particularly to 
"Dixie," I wish to say that under no cir- 
cumstances can I grant requests made in 
anonymous letters. Names and addresses 
should always be given; they wont be 
published if you so specify. 




Tony Moreno in a scene from one of 
his early serial pictures 



Every advertisement in MOTION PICTURE MAGAZINE is guaranteed. 



Advertising Section 



(^.MOTION PICTURI 

inel I MAGAZINE 



That's Out 

(Continued from page 110) 

motion pictures are now a stable business 
and that the film industry is no longer to 
be considered in the speculative class. 

This should hand the film producers a 
good laugh. So far as the bankers are 
concerned, the picture industry has never 
been a speculation. Every time the bank- 
ers invested in a production it has been 
secured by a pound of flesh and double- 
checked by something like twenty-five-per- 
cent, profit on their money. The specula- 
tion is all on the part of the producer won- 
dering what will be left for him after the 
bankers get thru deducting their share of 
the spoils. 

It Cant Be Done 

piRST National announces that it will 
make a film version of Papini's Life of 
Christ. That's splendid! We need films 
like that on the screen. But if the pro- 
ducers intend to give a sincere picturiza- 
tion of the life of Christ as written both 
in the Bible and in Papini's book, how on 
earth do they hope to get by those superior 
critics, the censors, who, judging by every- 
thing we have ever observed, do not by any 
means approve of many of the acts and 
teachings of the Messiah except in con- 
versation. 

Heaven vs. Hell on the Screen 

Tn Feet of Clay C. B. De Mille gave us 
„ his impression of what Heaven is like, 
and in the Fox production, Dante's Inferno, 
Director Henry Otto presents his idea of 
Hell. Personally, we are not acquainted 
with either place and there is no way of 
our knowing for certain that Messrs. De 
Mille and Otto are correct in their presen- 
tations. But we will say, after viewing 
Dante's Inferno, that there are a devilish 
lot of very attractive women running about 
in the lower regions with very little clothes 
on, and if Director Otto has any authorita- 
tive basis for many of the scenes he has 
injected into the picture, it certainly is very 
encouraging information to many persons 
up and above here in a world full of temp- 
tations. 

Those Geographical Movies 

piRST they gave us South of Suva, next 
came West of the Water Tower, and 
then followed East of Suez and North of 
36. Having been served all the main points 
of the compass in silent drama, we may 
now look forward to such variations as 
Northeast of the Pumping Station and 
Southwest of the Sanitarium. 

It's a gift — this thinking up new titles 
for the films. 



to L< 



learning to Love 

As taught by 
Constance Talmadge 

And Connie Ought to Know 
How 

Read the story of her funniest 
picture told in 

MOTION PICTURE MAGAZINE 
For MARCH 




LARGE salaries are paid to commercial artists, both men and women. 
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"MOTION PICTURF 
V\ I MAGAZINE L. 



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Advertising Section 
The Movies Are Growing Up 

(C out tinted from page 113) 

the continuity of fifteen or eighteen 
scene.-. 

A thousand dollars would have been 
considered an enormous stun to pay for 
the photoplay rights of a book or stage 
play then. And in 1913, when we gave 
ten thousand for Mr. Barnes of New 
York, for Maurice Costello, people went 
about asking each other what the movies 
were coming to, anyway ! This was the 
first motion picture to have a star. Be- 
fore that no company exploited its players' 
names and Biograph even refused to let 
them become known. But a trip around 
the country and among the exhibitors con- 
duced us that the audience? were princi- 
pally interested in personalities. Some- 
times, I think we created a Frankenstein 
when we inaugurated the star system. 

Nowadays it is a common thing to pay 
from twenty to fifty and even a hundred 
thousand dollars for the movie rights to 
a story, and then change name and plot 
so that it is entirely unrecognizable. It's 
a wise father who recognizes his own 
brain child on the screen ! I understand 
the owners of a very sensational stage 
play are holding photoplay rights at a 
quarter of a million. Papini's Life of 
Christ brought an immense sum. and it is 
said that Ben Httr had cost Goldwyn a 
million before the ink was dry on the 
contract. 

One producer is forced to follow 
another in this dance of the dollars, for 
fear of getting out of step if he stops. 
And yet— does the public really want such 
extravagant pictures? Over the Hill cost 
very little and it has been a huge money- 
maker. Inconspicuous, out-of-the-way stu- 
dios right here in Hollywood are mak- 
ing pictures for the states right trade 
today for five thousand dollars, finishing 
them in a month and selling them for ten 
thousand. Few big companies can hope 
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ment and many a can of film worth 
literally its weight in gold lies gathering- 
dust on the storehouse shelves, proving 
that lavish expenditure alone cant save 
a picture. 

The curls of film on the cutting-room 
floor, swept into the trash bin by a ten- 
dollar-a-week office boy is one reason why 
you have to dig so deeply into your pockets 
to see a film now. We were taking pic- 
ures more tightly then. A director mak- 
ing a thousand- foot picture never shot 




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Advertising Section 




Gloria Swanson and Phyllis 

Haver when they were Sennett 

bathing beauties 

more than twelve hundred and fifty feet 
of film. Now it is the rule rather than 
the exception to take from three to ten 
times as much film as can be used, and 
then hire cutters to snip it out and throw 
it away. Greed is said to have filled one 
hundred and fifty reels of celluloid. 

The theatrical profession has been very 
slow to recognize its poor relation — until 
it became a rich relation. As late as 1917 
Doug Fairbanks, Creighton Hale, and 
Tommy Meighan, old stage troupers all, 
were classed as "non-professional" mem- 
bers of the Lambs Club! Today Tommy 
Meighan is the President of the Lambs. 
Any actor, think what he privately may of 
the films, is glad to sign on the dotted line 
to make a picture at a salary five times 
what he could earn on the stage. 

Theatrical managers who threatened 
blacklist for any actor who entered the 
films in 1910, now look upon the pictures 
as they formerly looked on the gallery — 
as a life-saver for their plays. In the last 
five years stage producers have made far 
more money from selling the picture rights 
of their plays to the outcast movie pro- 
fession than they have made out of the 
plays themselves. 

Fifteen years — not a very long time, 
when you remember that it took genera- 
tions of slaves to build the pyramids, that 
the great Cologne Cathedral was centuries 
in the building, that an Oriental workman 
weaves his whole life into one small rug! 

And yet in fifteen years the motion pic- 
tures have advanced from the status of 
a cheap amusement device, like the dime 
museum, to a profession which famous 
actors, such as Barrymore and Maude 
Adams, and famous authors, like Sir 
James Barrie, are proud to be identified 
with ; from an outcast to a place of honor 
where the cousins of kings, as are the 
Duke and Duchess of Alba, come to Cali- 
fornia to visit — not society folk, but Mary 
and Doug and Charles Chaplin, who was 
born and raised in a London slum ! It 
has grown from an experiment, to be the 
fourth industry of the United States, 
occupying miles of glass-covered studios, 
spending and making fortunes on one 
picture, delighting ten million fans a day. 

Those of us who have stood by from 
the beginning have seen too many incredi- 
ble things come to pass to venture rash 
prophecies for the future. Indeed, we can 
not afford the time to think of it, with 
the Kleigs rattling, the cameras whirring 
and the salaries of our casts mounting 
into several ciphers with every revolution 
of the hands on the studio clock! 





CTT.M0TI0K' PICTUm 

InBI I MAGAZINE l\ 



Mist Crawford weighed 23S lbs. She gives Wallace credit for her reduction to ISO lbs. 

"Can I Reduce?" 

Ask Miss Crawford! 



Imagine taking off eighty-five pounds in four 
months! 

Miss Crawford used Wallace reducing records 
to play off this huge excess of weight, and this 
is what she has to say of Wallace's method: 
"The day my weight reached 235 lbs. was the 
date of my awakening. I sent for the free trial 
record and put in one earnest week of daily 
use, and that week I lost eight pounds. I kept 
on, of course. I used the movements faithfully, 
and nothing else. I didn't take any medicine, 
I didn't starve myself, and lost at least five 
pounds each week. My present weight is 150. 
Whenever I find that superfluous flesh is creep- 
ing back I take out my Wallace records, use 
them a few days, and I'm soon back to the 150 
mark. It took me only four months to lose 
85 lbs. and I spent about a quarter of an hour 
each day with the reducing movements. I 
never felt better than since getting rid of all 
that fat, and what it has done for my appear- 
ance you can guess from my pictures." 

Anybody Can Reduce By This 
Remarkable Method 

Thousands of women — men, too — have re- 
stored normal proportions in this way. Reduc- 
ing 85 lbs. is unusual, but any number of 
women have played off thirty and forty pounds 
with Wallace Reducing records, and in about 
two months' time. Many more have used 
them for lesser reductions — those who were but 
fifteen or twenty pounds overweight. Such 
cases are ridiculously easy for Wallace; they 
Ordinarily take less than a month. Many 



letters testify to a pound a day, and five 
pounds a week is easy indeed. 
If you weigh too much, you owe yourself this 
relief . The method is too well known for sensi- 
ble people to doubt. Miss Crawford only 
regrets that she did not heed Wallace's offer 
two years ago. She is a Chicago lady, her 
address is 6710 Merrill Ave., where anyone 
who wishes to confirm her story may write. 
But a better way is to start reducing with the 
reducing record Wallace will furnish — for a 
free demonstration — read his offer and begin 
reducing this week. 

Free Proof to Anyone 

Send your name and address now and your 
first week's reducing lesson, record and all, will 
come by return mail, prepaid. Do not enclose 
any payment, don't promise to pay anything. 
Let actual results decide whether you want to 
continue! Here's the coupon that brings 
everything for Free trial. 

Mail This Coupon 
to WALLACE 

630 S. Wabash Ave.. 

Chicago go* 

Brings First Lesson Free 
—Record and All! 

Please send me FREE and POSTPAID for a week's 
trial the original Wallace Reducing Record. 





Name. 



Address. 



Be Sure to Read 
Page 129 




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119 

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(Print plainly) 



Advertising Section 
Wkat the Stars Are Doing 

{Continued from page 82) 

Glsh, Lillian and Dorothy — back from Rome, 
having completed playing little peasant girls in 
Romola. 

Glass, Gaston — playing in The Three Keys — 

B. P. 

Godowsky, Dagmar — just started work in Play- 
things of Desire. 

Gordon, Huntley — playing in Ne'er the Twain 
Shall Meet—C. 

Goudal, Jetta — will have an important role in 
Salome of the Tenements, a story of life in New York's 
Ghetto by Anzia Yezierska — F. P. L. 

Grey, Gloria — playing opposite Maurice B. 
Flynn in The Millionaire Cowboy — F. B. O. 

Griffith, Corinne — will be starred in Declassee, 
the famous Broadway success — F. N. 

Griffith, Raymond — will have an important role 
in Miss Bluebeard — F. P. L. 

H 

Hackathorne, George— playing in Capital Pun- 
ishment — B. F. S. 

Haines, William — playing in A Fool and His 
Money— C. B. C. 

Hale, Alan — upon completing his work in Dick 
Turpin, he is going to try his hand at the megaphone. 
He will direct Shirley Mason in her next picture for 
W. F. 

Hale, Creighton — will enact the role of a man 
who is falsely accused of crime and deserted by all 
his friends, except his faithful and courageous wife, 
in The Bridge of Sighs— W. B. 

Hamilton, Mahlon — has signed a contract with 
Pathe to appear in their next serial. 

Hamilton, Neil — has the leading male role in 
Isn't Life Wonderful — D. W. G. 

Hammerstein, Elaine — playing in Parisian 
Nights— G. P. 

Harlan, Kenneth — has been chosen to play Brian 
Kent in The Re-creation of Brian Kent — P. P. 

Harris, Mildred — playing in Wife No. 2 — F. N. 

Hatton, Raymond — his first picture under his 
new contract with Famous Players-Lasky will be 
Contraband. 

Haver, Phyllis — playing in Interpreter's House — 
F.N. 

Hawley, Wanda — playing in The Wizard of Oz — 

C. P. L. 

Hay, Mary — Richard Barthelmess has chosen his 
wife for the feminine lead in New Toys. This is her 
first appearance on the screen since she played in 
Griffith's Way Down East. 

Hearn, Edward — playing in Winner Take All — 
W. F. 

Herbert, Holmes E. — playing in Up the Ladder 

Hiers, Walter — will give us some rare bits of com- 
edy in The Triflers—M. G. M. 

Hines, Johnny — engaged in making the comedy 
in The Early Bird—C. C. B. 

Holmes, Stuart — playing in The Three Keys — 
B. P. 

Holm'quist, Sigrid — appearing opposite Johnny 
Hines in The Early Bird. 

Holt, Jack — -playing in Emerson Hough's North 
of 36— M. P. L. 

Howard, Frances — a stage favorite; has been 
chosen to play the Princess in The Swan, her first 
screen appearance. 

Hughes, Lloyd — playing the dancing kid, a 
trainer of horses, in Dixie — M. G. M. 

Hunter, Glenn — has been disengaged since com- 
pleting The Silent Watcher— F. N. 



Johnston, Julanne — is playing [in Sir Phillip 
Gibbs' City of Temptation. It is being filmed in Con- 
stantinople by an English producing company. 

Jones, Buck — playing in The Trail Rider — W. F. 

Joyce, Alice — is appearing in the screen version 
of Daddy-Goes-A-Hunting, to be released under the 
title of A Man's World — M. G. M. 

K 

Keaton, Buster — is cast as a young man who will 
inherit seven million dollars if he will marry within 
twenty-four hours in Seven Chances — M. G. M. 

Keenan, Frank — is making Dixie, his first picture 
since his return from his honeymoon — M. G. M. 

Keith, Ian — playing in My Son — F. N. 

Kennedy, Madge — alternates between the stage 
and the screen. Her screen fans will be glad to wel- 
come her back in The Ultimate Good, in which she ap- 
pears opposite Conway Tearle for A. E. 

Kenyon, Doris — will next appear in Interpreter's 
House— F. N. 

Kerry, Norman — has the juvenile lead in Phan- 
tom of the Opera — U. 

Keye, Kathleen — is playing Ben Hur's sister 
Tirzah in Ben Hur — M. G. M. 

Kirkwood, James — now the proud father of a 
son. is playing a dual role in Top of the World — 
F. P. L. 

Kosloff, Theodore — will next be seen in Cecil 
De Mille's production The Golden Bed. 



Lake, Alice — recently completed her work in The 
Lost Chord— -W. B. 

La Marr, Barbara — will next appear in Hail and 
Farewell instead of The Second Chance, as previously 
announced — F. N. 

Landis, Cullen — is cast as George Minafar in 
Pampered Youth — V. 



Manufacturers, Distributors 

and Studios of Motion 

Pictures 

NEW YORK CITY 

Advanced Motion Picture Corp., 1493 

Broadway 
American Releasing Corp., 15 W. 44th 

Street 
Arrow Film Corp., 220 W. 42nd Street 
Associated Exhibitors, Inc., 35 W. 

45th Street 
Ballin, Hugo, Productions, 366 Fifth 

Avenue 
C. C. Burr Prod., 135 W. 44th Street 
Community Motion Picture Bureau, 46 

W. 24th Street 
Consolidated Film Corp., 80 Fifth Ave. 
Cosmopolitan Productions, 2478 Second 

Avenue 
Distinctive Prod., 366 Madison Avenue 

(Biograph Studios, 807 E. 175th 

Street) 
Educational Film Co., 729 Seventh 

Avenue 
Export & Import Film Co., 729 Seventh 

Avenue 
Famous Players-Lasky, 485 Fifth 

Avenue (Studio, 6th and Pierce 

Streets, Astoria, L. I.) 
Film Booking Offices, 723 Seventh 

Avenue 
Film Guild, 8 W. 40th Street 
Film Market, Inc., 563 Fifth Avenue 
First National Exhibitors, Inc., 383 

Madison Avenue 
Fox Studios, Tenth Avenue and 55th 

Street 
Gaumont Co., Congress Avenue, Flush- 
ing, L. I. 
Goldwyn Pictures Corp., 469 Fifth 

Avenue 
Graphic Film Corp., 729 Seventh 

Avenue 
Griffith, D. W., Films, 1476 Broadway 

(Studio, Oriental Pt. Mamaroneck, 

N. Y.) 
Hodkinson, W. W., Film Corp., 469 

Fifth Avenue 
Inspiration Pictures, 565 Fifth Avenue 
International Studios, 2478 Second 

Avenue 
Jans Pictures, 729 Seventh Avenue 
Jester Comedy Co., 220 W. 42nd Street 
Kenna Film Corp., 1639 Broadway 
Mastoden Films, 135 West 44th Street 
Metro Pictures, Loew Building, 1540 

Broadway 
Moss, B. S., 1564 Broadway 
Outing Chester Pictures, 120 W. 41st 

Street 
Pathe Exchange, 35 West 45th Street 
Preferred Pictures, 1650 Broadway 
Prizma, Inc., 110 West 40th Street 
Pyramid Picture Corp., 150 W. 34th 

Street 
Ritz-Carlton Prod., 6 W. 48th Street 
Selznick Pictures, 729 Seventh Avenue 
Sunshine Films, Inc., 140 West 44th 

Street 
Talmadge Film Corp., 1540 Broadway 
Topics of the Day Film Co., 1562 

Broadway 
Triangle Distributing Corp., 1459 

Broadway 
Tully, Richard Walton, Prod., 1482 

Broadway 
United Artists, 729 Seventh Avenue 
Universal Film Corp., 1600 Broadway 
Vitagraph Films, E. 16th Street and 

Locust Avenue, Brooklyn 
Warner Bros., 1600 Broadway 
West, Roland, Prod. Co., 236 W. 55th 

Street 
Whitman, Bennett, Prod., 537 River- 
dale Avenue. 



20 
Gt 



Every advertisement in MOTION PICTURE MAGAZINE is guaranteed. 



Advertising Section 



-,-JOTION PICTURE 

101 I MAGAZINE j\ 



La Plan te, Laura — has just returned from Hono- 
lulu where the exteriors were filmed for Dangerous 
Innocence — U. 

La Rocque, Rod — will have the role of Admah 
Holtz in Cecil De Mille's next production, The Golden 
Bed—F. P. L. 

Lee, Lila^ — has just arrived in New York to play 
the feminine lead opposite Thomas Meighan in Com- 
ing Thru. This is her first picture since the birth of 
James Kirkwood, Jr. 

Lewis, Mitchell — playing in Wife No. 2 — F. N. 

Lewis, Ralph — playing in The Bridge of Sighs — 
W. B. 

Livingstone, Margaret — playing in Capital Pun- 
ishment — B. F. S 

Lloyd, Harold — is just starting work on his new 
comedy, which deals with college life. 

Logan, Jacqueline — recently started work on her 
second Regal Productions, Off the Highway. 

Long, Walter— playing the villain in the White 
Man—B. P. S. 

Louis, Wlllard — playing Baxter in How Baxter 
Butted In—W. B. 

Love, Bessie — will be seen as a half-breed Indian 
girl in Tongues of Flame — F. P. L. 

Lowe, Edmund — Fox have loaned him to F. P. L. 
to appear opposite Pola Negri in East of Suez. 

Lyon, Ben — will next be seen in The One Way 
Street for F. N. He has a new leading lady for every 
picture — this time it's Anna Q. Nilsson. 

Lytell, Bert — will play opposite Anita Stewart in 
Ne'er the Twain Shall Meet—C. 

M 

Mackaill, Dorothy — will have the leading femi- 
nine role in The Bridge of Sighs — W. B. 

MacLean, Douglas — is just starting work on his 
next comedy which is tentatively titled Sky High — 

A. E. 

Marmont, Percy — -playing in A Man's World — 
M. G. M. 

Marshall, Tully — playing Sandoja in The Merry 
Widow— M. G. M. 

Mason, Shirley — playing in The Scarlet Honey- 
moon — W. F. 

Mayo, Frank — playing in The Triflers — B. F. S. 

McAvoy, May — will next be seen as the heroine, 
Esther, in Ben Hur—M. G. M. 

McDonald, Wallace — playing opposite Shirley 
Mason in Curly-top — W. F. 

McGrail, Walter — has been cast for an important 
r61e in The Dancers— W. F. 

McGuire, Kathryn — playing in Find the Man — U. 

McKee, Raymond — playing in Contraband — 
F. P. L. 

Meighan, Thomas— just started work on Coming 
Thru—F. P. L. 

Menjou, Adolphe — will appear as the Prince in 
The Swan—F. P. L. 

Meredith, Charles — playing opposite Florence 
Vidor in The Girl of Gold— R. P. 

Merrlam, Charlotte — playing in Pampered 
Youth— V. 

Miller, Carl — playing in The Redeeming Sin — V. 

Miller, Patsy Ruth — has just returned to Cali- 
fornia after her first visit to New York, where she 
played in His Woman, a W. B. production. To be 
featured in Frank Lloyd's next production for F. N. 
called Judgment. 

Mills, Alyce — has been chosen as Benny Leonard's 
leading lady in The Fighting Fist series. 

Mix, Tom — and of course, his horse — just started 
work in Dick Turpin for W. F. 

Moore, Colleen — will appear in Sally, an adap- 
tion of Ziegfeld's successful musical comedy for F. N. 

Moore, Matt — playing in The Summons — 
M. G. M. 

Moore, Owen — has the role of an awkward coun- 
try boy in Code of the West—F. P. L. 

Moore, Tom — has just signed a contract to play 
the leading role in Thin Ice — W. B. 

Moreno, Antonio — has the leading male role in 
Judgment — F. N. 

Mulhall, Jack — playing in The Three Keys — 

B. P. 

Murphy, Edna — cast for an important part in 
Richard Dix's next picture, A Man Must Live — 
F. P. L. 

Murray, Mae — will dance her way as Sonia in 
The Merry Widow— M. G. M. 

Myers, Carmel — playing Iras in Ben Hur— 
M. G. M. 

{Continued on page 123) 




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^MOTION PICTURF 
6)1 I MAGAZINE I- 



Advertising. Section 



Why Does She Wear 
a Badge? 

SOON you will see many of the salesgirls at 
the perfume and toilet articles counters of 
the department stores wearing conspicuous 
badges. These badges are to indicate that the 
girls are not regular store employees, but are 
paid by manufacturers to push certain lines of 
goods. In the past these girls have been called 
"hidden demonstrators," because the fact that 
they were being paid to push certain lines was 
hidden from the public. 

The Federal Trade Commission has main- 
tained that the "hidden demonstrator" system 
has resulted in deception of the public. Retail 
merchants are regarded as the purchasing 
agents of the community, and customers rely 
upon the advice of retail salespersons, thinking 
that such advice in the selection of goods is un- 
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Never would such women dream that many 
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Letters to the Editor 

(Continued from page 78) 

Even He-men of the great out-of-doors 

are falling victims to this awful practice. 

As a result, some of them look ghastly, 

others a trifle clownish. I can name only 

three who use restraint in this matter — 

George Arliss, Tom Moore and Novarro. 

Am I scheduled for the hangman's 

noose after speaking my mind so freelv? 

P. J-, 

Jersey City, N. J. 



A Slam for the Fans from Eton 
College 

Dear Editor : For many months I have 
been alternately amused and annoyed by 
the fan letters. Very few seem to have 
anything worth while to write or write it 
sensibly. Most of them either run down, 
in very superlative language, some star, 
play or director, or else praise something 
or someone in equally positiye manner. It 
seems to me to be rather futile considering 
that they probably know nothing about it 
at all and are merely working off excess 
emotion, be it anger or pleasure. 

I feel sure that their opinion would be 
far more valuable if they waited until they 
had cooled off somewhat and then thought 
a bit before sending it. 

Having started off quite as hotly as 
anyone else : 

I was very glad to see Earl Hudson's 
A Brief for the Butcher, as there have 
been so many people rampaging around 
because some utter fool of a director has 
twisted their favorite book into all sorts 
of horrible, unrecognizable forms. Now 
they know why it is and I hope they're 
satisfied. 

One fan said in his letter that he did not 
like sad endings as in Blood and Sand. I 
should like to say that I quite agree. I 
think stories should be written about 
people who find happiness at the end, so 
that the reader can feel he has a chance 
and is thus made happier. 

E. W. H., 
Eton College, Windsor, England. 



Muriel's Resolution for 1925 




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'122 



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Advertising Section 
What tke Stars Are Doing 

(.Continued from page 121) 

Myers, Harry — is cast as Texas in Zander the 
Great— C. P. 

Myers, Kathleen — one of the principal players 
of Christie Comedies, now playing, lead in Dick 
Turpin opposite Tom Mix — W. F. 

N 

Nagel, Conrad — playing in Cheaper to Marry — 
M. G. M. 

Naldi, Nita — has left for the Coast where she will 
be Rudolph Valentino's leading lady in The Scarlet 
Power — R. C. 

Nazimova — will play Joan, Queen of the apaches, 
in The Redeeming Sin — V. 

Negri, Pola — her next picture will be an adapta- 
tion of Somerset Maugham's East of Suez — F P. L. 

Nilsson, Anna Q. — has just arrived from the Coast 
to play opposite Ben Lyon in The One Way Street — 
F.N. 

Nixon, Marion — playing opposite Tom Mix in 
Riders of the Purple Sage — W. F. 

Novak, Jane — will have an important part in 
Cheap Kisses — F. B. O. 

Novarro, Ramon — is in Italy where he is playing 
Ben Hur—M. G. M. 

o 

O'Brien, Eugene — has the leading male r61e op- 
posite Laura La Plante in Dangerous Innocence — U. 

O'Brien, George — playing Tony in The Dancers 
— W. F. 

O'Hara, George — playing opposite Alberta 
Vaughn in The Go-Getters Series for F. B. O. 

Olmstead, Gertrude — cast opposite Reginald 
Denny in California Straight Ahead — U. 

O'Malley, Pat— playing in On the Shelf— P. D. C. 

Owen, Seena — is playing in The Hunted Woman 
— W. F. Her first picture to be filmed in Hollywood 
for over two years. 



Percy, Eileen — has an important part in Tongues 
of Flame— F. P. L. 

Peters, House — lias the role of a daring, gentle- 
manly desperado who always keeps just inside the 
law in Raffles — U. 

Philbin, Mary — will play Marguerite in The 
Phantom of the Opera. This is to be an elaborate pro- 
duction to be directed by Wallace Worsley, who also 
directed The Hunchback of Notre Dame. 

Phillips, Eddie — has just started work in Capital 
Punishment — B. F. S. 

Pickford, Mary — disengaged at present. Latest 
release Dorothy Vernon of Haddon Hall. 

Pitts, Zazu — will create an entirely different part 
in The Re-creation of Brian Kent — P. P. She will ap- 
pear as Judy, an uneducated mountain girl, who is 
crippled in childhood. 

Powell, David — plaving in Kings in Exile — 
M. G. M. 

Prevost, Marie — at the present time she is honey- 
mooning with Kenneth Harlan, having completed 
her work in The Dark Swan — W. B. 

Pringle, Aileen — playing in A Thief of Paradise 
n which she wears a costume made of 18,000 Oriental 
pearls — F. N. 

R 

Ralston, Esther — added to the cast of The Goose 
Hangs High—F. P. L. 

Rawlinson, Herbert — playing in The Adventurous 
Sex— A. E. 

Ray, Charles— recently completed work in The 
Desert Fiddler— T. H. I. 

Reid, Mrs. Wallace — playing in Broken Laws, 
written for her especially bv Adela Rogers St. John — ■ 
F. B. O. 

Rennie, James — finds time to appear in a picture 
every now and then. He is playing in Argentine Love 
— F. P. L. in the daytime, and delighting theater- 
goers evenings in The Best People. 

Reynolds, Vera — Cecil De Mille liked her per- 
formance in Feet of Clay so much that he immediately 
signed her up for an important part in his forthcom- 
ing production. The Golden Bed — F. P. L. 

Rich, Irene — playing in The Man Without a Con- 
science — W. B. 

Rich, Lillian — is Cecil DeMille's latest choice for 
an important role in The Golden Bed — F. P. L. 

Ricksen, Lucille — playing in The Square Peg — 
M. G. M. 

Rin-Tin-Tin — just started work in Tracked in 
The North— W. B. 

Roberts, Edith — playing in The Three Keys— 

B. P. 

Roberts, Theodore — recently completed work in 
Locked Doors — F. P. L. 

Roscoe, Alan — playing in One Glorious Night — 

C. B. C. 

Rubens, Alma — has been cast as the leading role 
in The Dancers — W. F. 

Russell, William — has been assigned the role of 
the "heavy" in The Summons — M. G. M. 



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PICTURE MAGAZINE. 



123 
PAfi 



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T ^MOTION PICTllRf 
& I MAGAZINE L. 



in 







Advertising Section 

I i'Ttto 



••• Startling in its 
Frankness 

• •• Intimate Inside 

Secrets of Movie- 
dom exposed 

• • • Signed by the Stars 

• • • "Vbull find every- 

thing you want 
to know about 
o7 filmdom iti^^> 

TRUTH 

ABOUT THE 

MOVIES 

WHAT becomes of the movie-mad 
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What price must they pay for 
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Your Favorite Star Has a 
Message Here for You 

No longer shall lurid lies and exaggerated rumors 




<Oiii 



Who Dared Write this Book? 

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"The Truth About the Movies." 



fool the public. Now comes the 
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tell you of their experiences — 
the experiences of others — and 
warn you against the pitfalls, 
mistakes and heartaches they 
have suffered. 



WRITTEN BY 

Mary Pickford 

William S. Hart 

Colleen Moore 

Douglas Fairbanks 

Annette Kellerman 

Norma Talmadge 

and 240 other leaders of the 
moving picture world 



Can a Good Girl Succeed in Pictures? 

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I 



Why Some People 
Condemn This Book 

Because it prints the whole truth, this daring 
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tation— -"The Truth About the Movies'* tells 
everything! 



Critical Paragraphs About 
New Productions 

(Continued from page 103) 

train from being dynamited, wins the girl, 
and beats his enemies — accomplishing these 
tricks against overwhelming odds. You 
are apt to be thrilled even when you con- 
sider it as so much hokum. 

Teeth 

T'om Mix's "toot ensemble" has been 
augmented by Duke, a dog. With Tony, 
the cowboy star's horse, the animals carry 
the burden of this Western melodrama, 
built around the hero unjustly accused of 
murder and his faithful hound getting the 
goods on the real culprit. 

Every situation features the dog. Still 
i.t seems as if he knew a little too much 
even for a dog. He can spot a hub cap 
on an automobile and lift keys from a 
jailer's pockets. Eventually, he helps the 
hero to rescue the girl from a forest 
fire — a scene effectively thrilling. Not 
much hard ridin' here. Mix does away 
with his usual exploits to give the dog a 
chance. And Duke can make a big bark 
over his performance. 

Dangerous Money 

TThe difficult task of making a trite story 
passably interesting has fallen to Frank 
Tuttle— and this director, appreciating that 
lifelike situations can overcome dramatic 
pyrotechnics that have little meaning, has 
done a first-rate job. There isn't much to 
the plot — which is of the Cinderella pat- 
tern dressed up with the moral. And this 
moral is that money is dangerous when its 
possessor loses his or her sense of pro- 
portion. Bebe Daniels is the star, but we 
think her performance is overshadowed by 
Tom Moore's. 

Worldly Goods 

A ny picture that can take a crack at the 
large and ever-growing army of "show- 
offs" — who "bull" their way into every- 
thing — deserves commendation. Which 
makes this an especially fine treat for 
America's matrons, young and old. And 
it will doubtless hit home with many — oh, 
so many married couples. Paul Bern has 
filled the picture with many human touches, 
flashes of comedy — and appropriate at- 
mosphere. And Pat O'Malley in the un- 
pleasant role of the husband gives an 
adroit study. Agnes Ayres is more adapt- 
able for the role of the wife than anything 
we have seen her in of late. 

Darwin Was Right 

("•harles the Darwin said it some time 

ago — that we were descendants of apes. 

And the author and director of this pic- 



124 





Buck Jones does good work in a new type 
of Western called, Winner Take All 



Every advertlsemen 



aranteed. 



Manufacturers, Distributors 

and Studios of Motion 

Pictures 

OUTSIDE NEW YORK 

American Film Co., 6227 Broadway, 

Chicago, 111. 
Bennett, Chester Prod., 3800 Mission 

Road, Los Angeles, Calif. 
Century Comedies, 6100 Sunset Blvd., 

Hollywood, Calif. 
Chaplin, Charles, Studios, 1420 La 

Brea Avenue, Los Angeles, Calif. 
Christie Film Corp., 6101 Sunset Blvd., 

Hollywood, Calif. 
Commonwealth Pictures, Corp., 220 

So. State Street, Chicago, 111. 
Coogan, Jackie, Prod., 5341 Melrose 

Avenue, Los Angeles, Calif. 
Dean, Dinkie, Prod., 5617 Hollywood 

Blvd., Hollywood, Calif. 
Famous Players-Lasky Studios, 1520 

Vine Street, Hollywood, Calif. 
Garson Studios, Inc., 1845 Glendale 

Blvd., Los Angeles, Calif. 
Goldwyn Studios, Culver City, Calif. 
Grand-Asher Prod., 1438 Gower Street, 

Hollywood, Calif. 
Graf Prod., Inc., 315 Montgomery 

Street, San Francisco, Calif. 
Hart, William S., Prod., 6404 Sunset 

Blvd., Los Angeles, Calif. 
Ince Studios, Culver City, Calif. 
Laurel Productions, Hollywood 

Studios, Hollywood, Calif. 
Lloyd, Harold, Studios, 6642 Santa 

Monica Blvd., Hollywood, Calif. 
Mayer, Louis B., Studios, 3800 Mission 

Road, Los Angeles, Calif. 
Metro Studios, 1025 Lillian Way, Los 

Angeles, Calif. 
Pathe Freres, 1 Congress Street, Jersey 

City, N. J. 
Pickford-Fairbanks Studios, Holly- 
wood, Calif. 
Ray, Charles, Studios, 1425 Fleming 

Street, Los Angeles, Calif. 
Roach, Hal E., Studios, Culver City, 

Calif. 
Roland, Ruth, Prod., Culver City, Calif. 
Robertson-Cole Studios, 780 Gower 

Street, Los Angeles, Calif. 
Sawyer-Lubin Prod., 6912 Hollywood 

Blvd., Hollywood, Calif. 
Sennett, Mack, Studios, 1712 Glendale 

Blvd., Los Angeles, Calif. 
Schulberg, B. F., Prod., 3800 Mission 

Road, Los Angeles, Calif. 
Sol Lesser Prod., 7250 Santa Monica 

Blvd., Hollywood, Calif. 
Stahl, John M., Prod., 3800 Mission 

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Advertising Section 

ture try to prove it. Monkey comedies 
usually take up no more than three reels, 
but in .trying to work out the Darwinian 
theory they have added more than humor. 
It tells of a scientist who in experiment- 
ing with an elixir of youth tosses off a 
goodly potion and reverts to type— that is, 
his immediate household thinks he has re- 
verted to type. What does occur is a kid- 
naping of the scientist, his secretary and 
his valet by a scoundrel who is after the 
fatal secret. And the monks descend upon 
his home. It is rather novel, but too slight 
for five reels. 

The Garden of Weeds 

This may not have been so much on the 
stage, but trust James Cruze to make 
something out of it. He has dressed up 
the timeworn plot— that of the innocent 
girl being compromised by a wealthy 
bounder and trying to keep her past from 
her husband — with sophisticated trimmings. 
That's the kind of a picture it is — one that 
paints the lily in rather broad fashion. A 
daring story which has been treated with a 
share of subtle shadings. 

The title gets its meaning from the 
bounder maintaining a lavish love nest for 
the pretty ladies. They, naturally, are so 
many weeds. Betty Compson is one of 
these weeds who transfers herself to 
cleaner soil. And a smart performance 
she gives. The same may be said for 
Rockcliffe Fellowes as the bounder. 
Fairly true to life. 

Romance and Rustlers 

Tt's seldom that a Western comes bound- 
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man touches as this "horse opera" starring 
Yakima Canutt. Not only does its central 
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Advertising Section 



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What the Stars Are Doing 

{Continued from page 123) 

Starke, Pauline — will have the feminine lead in 
The Devil's Cargo — E. P. L. 

Stedman, Myrtle — recently completed work in 
// I Ever Marry Again — F. N. 

Stewart, Anita — and company have just returned 
from Tahiti where they have filmed some of the 
scenes of Ne'er the Twain Shall Meet — C. 

Stone, Lewis — playing in Cheaper to Marry — 
M. G. M. 

Swanson, Gloria — has almost completed her 
work in Madame Sans Gene — F. P. L. Her next pic- 
ure will be The Coast of Folly. Allan Dwan, who will 
direct the picture, has already sailed for France 
where the exteriors will be filmed. 

Sweet, Blanche — playing in The Sporting Venus 
— M. G. M. 



Talmadge, Constance — playing in Learning to 
Lovc—F. N. 

Talmadge, Norma — recently completed work in 
The Lady— F. N. 

Talmadge, Richard — playing in Laughing at 
Danger— F. B. O. 

Taylor, Estelle — playing in Playthings of Desire. 

Tearle, Conway — has been engaged to play op- 
posite Madge Kennedy in The Ultimate Good — A. E. 

Tellegen, Lou — cast as Lupine, leader of the 
apaches, in The Redeeming Sin — V. 

Terry, Alice — playing in Kings in Exile — 
M. G. M. 

Theby, Rosemary — added to the cast of The Re- 
creation of Brian Kent — P. P. 

Thurman, Mary — playing in His Woman — W. B. 

Torrence, David — playing in Judgment — F. X. 

Torrence, Ernest — playing Captain Hook in 
Peter Pan— F.F.L. . 

V 

Vale, Vola — playing Betty Bond in The Mirage — 
R. P. 

Valentino, Rudolph— has just left for California 
to start work on his first R. C. production, The 
Scarlet Power. It was necessary for him to wear a 
beard thru part of this picture. 

Valli, Virginia — playing in a screen version of 
Owen Davis's play. Up the Ladder — U. 

Varconi, Victor — playing in The Golden Bed — 
F P. L. 

Vaughn, Alberta — appears opposite George 
O'Hara in The Go-Getters— F. B. O. 

Vidor, Florence — portraying a spoiled daughter 
of a rich broker in The Girl of Gold — R. P. 

Von Eltz, Theodore — playing in Thin Ice — YV. B. 

w 

Walker, Johnny — has been engaged to play op- 
posite Allene Ray in Galloping Hoofs. 

Walthall, Henry — playing the gay young blade 
in The Golden Bed—F. P. L. 

Washburn, Bryant — has been added to the cast 
of The Wizard of Oz—C. P. 

Welch, Niles — playing the leading male r&le in 
Fear-bound — V. 

Williams, Earle — playing in The Adventurous Sex 
—A. E. 

Williams, Kathlyn — upon completing work in 
William de Mille's Locked Doors — F. P. £., she will 
leave for a four months' trip to the Orient. 

Wilson, Lois — is cast as a young woman who owns 
and manages a newspaper in a small town. She has 
the only female part in Contraband — F. P. L. 

Windsor, Claire — playing in Dixie — M. G. M. 

Wong, Anna May — playing in Peter Pan— 
F. P. L. 

Worthing, Helen Lee — playing Wanda von 
Gluck in The Swan — F. P. L. 



Key to Abbreviations 

A. A. — Associated Arts. 

A. C. — Al Christie Productions. 

A. E. — Associated Exhibitors. 

A. P. — Allied Productions. 
B. — Banner Productions. 

B. F. S.- — B. F. Schulberg Productions. 

C. C. B— C. C. Burr. 

C. P. — Cosmopolitan Productions. 

D. VV. G— D. W. Griffith. 

E. S. — Ernest Shipman. 

F. P. L. — Famous Players-Laskv. 
F. B. O— Film Booking Offices. 
F. N. — First National. 

H. P. — Halperin Productions. 
H. S. — Hunt Stromberg. 
I. P. — Inspiration Pictures. 
M. G. M. — Metro-Goldwyn-Mayer. 
P. P. — Principal Pictures. 
P. D. C. — Producers Distributing Cor- 
poration. 
R. P. — Regal Productions. 
T. H. I.— Thomas H. Ince. 
U. — Universal. 
V. — Yitagraph. 
W. B. — Warner Brothers. 
W. B— Whitman Bennett. 
W. F— William Fox. 



126 



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Advertising Section 



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Tony Moreno and Vera Reynolds 
snapped out of working hours 

The Answer Man 

(Continued from page 80) 

Robert B. — No, I haven't any record of 
Helen Greene's returning to the screen. Is 
that her right name? Tell me more about 
her. It's Laura LaPlante and Eugene 
O'Brien who are playing in Dangerous 
Innocence. It was taken in Honolulu ; 
down where the ukeleles grow. 

Dixie of Memphis. — Just address Ben 
Lyon at the old Biograph Studios, 807 
East 175th St , New York City. He is 
twenty-three. Colleen Moore is playing 
in Sally for the screen. Robert Frazer 
and Bebe Daniels in Miss Bluebeard. 

Sweet Sixteen. — What do I do for 
excitement. Well, if you read all of these 
letters that are scattered on my desk, you 
would get enough excitement. I go to 
picture shows, the theater, then I ice skate, 
dance, then occasionally play a game of 
mah jong. May McAvoy at Metro- 
Goldwyn, Culver City, California. Run 
in again some time, you will always find 
me here. 

Jean M., N. J. — So you are from New 
Jersey. A nice place. Kenneth Harlan at 
Principal Pictures, 7250 Santa Monica 
Boulevard, Los Angeles, California. Eve- 
lyn Brent is starring in Silk Stocking Sal. 
Sounds interesting. 

Peter Pax. — So you think I ought to 
bob my beard. I suppose the boyish bob. 
I'll consider it, Peter. Gloria Swanson 
played opposite Wallace Reid in Affairs 
of Anatol. There were many other stars 
in the picture. They also played in 
Something to Think About. 

Schatz.— Yes, I saw Richard Barthel- 
mess' Classmates. Richard does some 
splendid acting, and it is well done, but 
Inspiration also showed the Classmates 
which Biograph took some ten years ago 
with Blanche Sweet and Henry Walthall, 
and I want to tell you it was the funniest 
thing I have seen for some time. No, 
Clara K. Young is not playing now. 

E. L. — Ronald Colman is English, and 
he is playing opposite Blanche Sweet and 
Lew Cody in The Sporting Venus. Why, 
Louis Czolgosz shot President McKinley. 

Jane B. — You're a bit twisted. Her 
Love Story was released first and then 
Wages of Virtue. They are two different 
pictures. Ian Keith is with Ince. Ramon 
Novarro is twenty-five. So long. 

Chil. — If you lose your temper dont 
look for it. If you would distinguish 
yourself, learn to distinguish between 
quick action and hasty judgment. Cyril 
Maude is not playing in pictures right 
now. Neither is Elsie Janis. 1889 for 
her. Forrest Stanley has the lead oppo- 
site Virginia Valli in Up the Ladder. Yes, 
there is a Charlotte Merriam and she is 
playing in Pampered Youth with Cullen 
Landis for Vitagraph. 

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127 
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AMOTION PICTURF 
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Advertising Sectioh 




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George Hackathorne wore a mus- 
tache in the early days of his 
screen career 

Stories About the Old Times 

(Continued from page 95) 

week before by landing this humble job, 
I wanted it badly. But D. W. just raised 
his hand, and said : 'rCeep it up, young 
man, keep it up. I like to hear you.' But 
I must have been a disappointment to him 
from then on. My thoughts had flown and 
I had to stumble along. 

"Two weeks later, I was still digging 
post-holes when D. W. sent for me. 'Can 
you act?' he asked. 'No!' I replied. 'Well, 
you can talk,' retorted D. W. and added, 
'I want you, just as you are, in your over- 
alls, to climb up on that soap box and 
talk to this mob. Pick your own subject.' 
A little voice inside of me kept saying: 
'Here is your opportunity. Dont lose it.' 

"I never talked in my life as I talked 
that day. Just as I got going good, I 
heard D. W.'s voice. Between laughs, he 
had been trying to stop me for several 
minutes. He had his scenes. And I had 
a new job. That made me an actor." 

X/Tarie Prevost likes to reminisce, too. 
"One of my earliest and most 
poignant recollections of the screen," said 
Marie, "concerns a colored maid. I was 
it! Yes, it was a Mack Sennett comedy 
and Mae Busch was the featured player. 
I was her maid — my first part — and I 
rfiade the most of it. In fact, I applied my 
make-up so thoroly that I looked the part 
for a week. 

"Like the rest of the original Mack 
Sennett bathing girls, I had started a 
motion picture career at three dollars a 
day, six days a week guarantee. Out of 
that we trolleyed to and from the studio, 
bought our lunches and made our clothes 
(dont laugh) and those were happy days! 
We were really school girls, all burning 
with the desire to learn to act. Gloria 
Swanson and Mae Busch were our ideals 
on the lot. They were getting somewhere 
as actresses. 

"My ability to swim, dive and ride a 
surf-board eventually led to the golden 
opportunity. I was called upon to double 
for another girl in the long shots in the 
water. No doubt I was a much better 
bathing girl than an actress, but at any 
rate my skill as a mermaid finally led to 
the hanging of the bathing suit on the line 
for good." 



NEXT MONTH 
CHARACTER ANALYSES 

OP 

MILTON SILLS, BESSIE LOVE, 
ANNA Q. NILSSON, ADOLPHE MENJOU 

By MADAME VANCE de REVERE 



Every advertisement in MOTION PICTURE MAGAZINE is guaranteed. 



Advertising Section 



„,.-J0TI0N PICTUI 

m I MAGAZINE 




Too Fat? Too Thin? 



One condition is just about as undesirable as the other — and as 

unnecessary. Estelle Taylor, movie star, will tell from her own 

experience, in February BEAUTY, "How I Lost a Pound a 

Day — How I Gained a Pound a Day" 



"How Not to Get Tired" is an article 
for the woman who stands all day, by Lydia 
de Vilbiss, M. D., well-known lecturer and 
writer, who has been associated with health 
work in many states. 



Dancing helps to create charm, accord- 
ing to Catherine Crandell, lovely dancer in 
the Greenwich Village Follies. She writes 
about it in "How I Acquired Charm," to 
appear in February Beauty. 



Cold weather brings its own problems to 

the beauty seeker. You will find many 
valuable suggestions in "How to Protect 
Your Beauty from Winter Blasts." 



"What Hockey Can Do for You" will be 
the second in a series of illustrative articles 
on sports for women written by Mildred 
Smelker for lovers of sport. 



/f^Gcavt 



For 

FEBRUARY 



■» 



Pin a Dollar Bill to this coupon and receive the next five big numbers of 
"Beauty" Magazine. Mail at once to BEAUTY, 175 Duffield St., Brooklyn, N. Y. 




On the news-stands January 15th 

When you write to advertisers please mention MOTION PICTURE MAGAZINE. 



129 
PAG 



I 



HMOTION PICTURE 
RBI | MAGAZINE 1- 



Advertising Section 




Wooden Shoes 



"^TpHE peasants in America do not wear wooden shoes 
-*■ at all, even in the fields!" writes Abbe Pierre, of Gas- 
cony. "No, the peasants there wear shoes of leather, altho 
I should think that sabots would be much more serviceable, 
not only on the roads, but plowing. . . . And wooden shoes 
are far less expensive. Ah, that America is an extravagant 
country!" 

Advertisements haven't yet taken the heavy wooden 
shoes from Gascon feet — nor yet the heavy wooden shoes 
from Gascon minds. Gascony thinks in the past. America 
in the future. 

Advertisements make the difference. They crisscross 
improvements in countless directions across the miles. They 
distribute Fords, furnaces and electric lights so widely that 
foreigners think you extravagant to enjoy them. They put 
you in touch with the latest conveniences. They help so 
many people enjoy those conveniences that their cost to 
you is small. 

You read advertisements to link yourself with the best 
— to substitute speed for the shambling progress you other- 
wise would have to make in the lonely wooden shoes of 
isolation. 

Do you read them regularly? Good habits pay. 



*$ 



Advertisements are a reliable buying guide obtainable in 

no other way 




'130 



Every advertisement in MOTION PICTURE MAGAZINE is guaranteed. 



GDWABD I.ANUEIt ritlNTINrt CO., INC., 
JAMAICA, NEW YOBK CITI. 



-^ 



Wr~ 



New 123 Method for 



• • 



UBLECHIN 



OR 

SAGGING 
FACIAL 

MUSCLES 



B 



Double chin, sagging 
facial muscles, drooping 

mouth lines mar what otherwise would be a pretty 

face. 
It is no longer necessary to labor under the handicap of 

such facial faults. Use the Cora M. Davis 1-2-3 method, 

consisting of an effective reducing facial cream, patented 

chin and face strap, and astringent. 

Worn While You Sleep 

How simple— how convenient — how effective. Merely 
apply the cream before going to bed. Then put on the 
chin strap. The cream has so softened the skin muscles 
that the strap is easily capable of starting its work of re- 
ducing the double chin, raising the mouth lines and re- 
turning to their proper places the sagging face muscles. 
Then in the morning apply the astringent which tightens 
up the skin and makes permanent the work done by the 
cream and strap. Continue this for a few nights and see 
the wonderful improvement in your facial contour. 
Special combination price for all three articles, only $4.00. 
Anyone desiring either of these three articles alone can 
obtain them at the stipulated prices. 



CORA M. DAVIS 

Dept. XIO 507 Fifth Ave. 

New York City 




EAUTY cannot be 
attained by a free use 
of cosmetics alone. 
Complexion is not every- 
thing — the contour of the 
face must also be correct. 





These Stores Sell The 

Davis Chin Straps. 



ANGOLA. IND. 

The Kratz Drut: Sh.rc 
ASBURY PARK. N. J. 

steinback Co. 
ATLANTIC CITY, N. J. 
M. De'Hart, care Black- 
Hotel 
BOSTON. MASS. 
Shepard stores 

M O'Heam, Tre- 
nuMit St. ' 

BROOKLYN. N. Y. 
A. I. .\anim & Son 
Abraham it Strauss 
Liggett s Drug Stores 
BUFFALO. N. Y. 

William Hengerer 
CANTON. OHIO 

Creami r, 1221 St.. Elms Ave. 
CHICAGO. ILL. 
Carson, l'lrie & Scott 
Maridtl Bros. 
Store 
Rothschild 
CLEVELAND, 0. 
Kathryn Ann. Euclid Bldg, 
The May Dept. Stores 
COLUMBUS, OHIO 

Charles \V. Lane, 90 North 
High St. 
DANVILLE. ILL. 

Woodbury Drug Co. 
DENVER. COLO. 

Lewis & Son 
DES MOINES. IOWA 

Llggett's. S21 Sixth Ave. 
DETROIT. MICH. 

J. L. Hudson 
GRAND RAPIDS, MICH. 
Friedman Spring Dry 
Goods Co. 
HARTFORD, CONN. 

G. Fox & Co. 
MINNEAPOLIS. MINN. 

L. S. Donaldson Company 
NEWARK. N. J. 
L. Bamberger 
Petty's, 771 Broad St. 
L. S. l'laut & Co. 
NEW ORLEANS, LA. 

MaJson Blanche 
NEW YORK, N. Y. 
.Tames MrCreery & Co. 
Saks & Co. 
Stern Bros. 
Glmhel Brothers 
Heam, 14th St. near 5th 



Ave. 



K. H. Macy 
Bloomingdale'a 

Barnett Bros., 
C ol nni bus 
Ave. and 
74th St. and 
at all other 
dept. stores 
Drug Merchants of 'Amer- 
ica. Inc.. Fulton St. 
Liggetfs Drug Stores 
Harlow & Luther, 46th and 
Broadway, and others 
NORWALK. CONN. 

L. A. Isklgan. S. Main St. 
PATERSON. N. J. 
Licgetrs. 165 Market St. 
Pellett's Drug Store 
PHILADELPHIA, PA. 
Straw-bridge. Clothier 
Lit Bros. 

Geo. <;. Evans' Drug Stores 
Rita A. Kraus. 1615 Wal- 
nut St. 
Pauline Campbell. 13th 
and Sansom St. 
PITTSBURGH. PA. 
McCrcery Co. 
Kaufman Bair 
McGinnis Vanity Shop 
Joseph Home Co. 
May Drug Co. 
POUGHKEEPSIE. N. Y. 

E. Moody, Main St. 
PROVIDENCE, R. I. 

The Sheppard Company 
RICHMOND, VA. 
Hughes Hair Shop. North 
3rd St. 
SAN DIEGO, CALIF. 

Dr. C. C. Benden 
SAN FRANCISCO, CALIF. 

The Emporium 
SOUTH NORWALK. CONN. 
Liggetfs, 70 East Wash- 
ington St. 
TERRE HAUTE. IND. 

Kintz, Hat Shop 
UTICA. N. Y. 

England & MeCaffry 
WASHINGTON, D. C. 
Llggett's. 1006 F Street. 

N.W. 
Mrs. B. Gaddis, 67 Ran- 
dolph Place. N.W. 
WILLIAMSPORT, PA. 
The Charlotte Shop. 
Pine St. 



243 



This astringent is a 
mild lotion but con- 
tains the correct 
essentials to produce 
firmness without 
harshness, tightening 
the skin smoothly 
wherever applied. 
Price 51.25 



While prepared primari- 
ly for reducing double 
chin and fleshy facial 
parts. many have 
spoken highly of Cora M. 
Davis reducing cream 
for effective reduction 
on any part of the body 
Price $1.00 



Use this 
Coupon 

If your dealer 

cannot 

supply you 



For sale at Owl Drug Stores from 
Chicago to the Pacific Coast 



Sfc. 




CORA M. DAVIS, 

Dept. X60, 507 Fifth Ave.. New York City. 

„i,f= en f» me th , e articles decked. I will pay the postman price 
hid if „r , I « St 1 aSre °" delivery. I am to get my money 
hack if not satisfied. 

□ Davis Chin Strap $2.00 

□ Davis Chin Reducing Cream 1.00 

□ Davis Special Astringent 1,25 

$4.25 

□ Combination Special Offer of all three 
above $4.00 







Some day 

a debutante 



The same mild daily cleansing that has retained 
mother's schoolgirl complexion will give baby, 
when she grows up, an attractive, wholesome 
skin for which she will always thank you. 



Palm and olive oils 
— nothing else — give 
nature's green color 
to Palmolive Soap 



Volume and 

efficiency produce 25c 

quality for only 



10' 



•-•^. 



A debutante! That little bundle of fluff- 
ed J- baby. Mother remembers her own debut, 
not so many years ago. The thrill of parties, atten- 
tions, popularity. Some day baby, too, will make 
her bow. Will she be lovely, attractive — popular ? 
Or will she be handicapped by a poor complexion 
— a wallflower? 

Mother's duty to baby is obvious. The tender 
rose-petal skin needs the same simple care that 
mother's does. Constant attention, the thorough 
cleansing that dermatologists recommend, will give 
baby, when she grows up, the complexion that 
- others envy — men admire. 

For by this simple method, superior to costly 
beauty treatments, the complexion is built, whole- 
somely protected, with a result which renders cos- 
metics, powders unnecessary or of secondary im- 
portance. For if the skin itself is right, artificial 
aids are little needed. 

A simple, wholesome "beauty treatment" 
—do this just one week— then note results 

Use powder and rouge if you wish. But never leave 
them on over night. If you do, they clog the pores, 
often enlarge them. Blackheads and disfigurements 
often follow. They must be washed away. 



Wash your face with soothing Palmolive. Then 
massage it gently into the skin. Rinse thoroughly. 
Then repeat both the washing and rinsing. If your 
skin is inclined to dryness, apply a touch of good 
cold cream — that is all. 

Do this regularly, and particularly before retiring. 

Sallow, unattractive skin 
no longer excusable 

Thus in a simple manner, millions since the days 
of Cleopatra have found beauty and charm. 

No medicaments are necessary. Just remove the 
day's accumulations of dirt, oil and perspiration, 
cleanse the pores, and nature will be kind to you. 
Your skin will be of fine texture. Your color will 
be good. Wrinkles will not be the problem as the 
years advance. 

Avoid this mistake 

Do not use ordinary soaps in the treatment given 
above. Do not think any green soap, or represented as 
of palm and olive oils, is the same as Palmolive. The 
Palmolive habit will keep that schoolgirl complexion. 

And it costs but 10c the cake! So little that mil- 
lions let it do for their bodies what it does for their 
faces. Obtain a cake today. Note the difference just 
one week makes. 



The Palmolive Company (Del. Corp.). Chicago 





i 


nj] 


Tn 


K 


ly 


KTH 


M 


r 


MARCH -25 cil 


» 


/ 


A BREWSTER PUBLICATION 










* 


■■ 







£? 





ir 








0/7 pages 28-29 II 

READ HOW PARIS COPIES STYLES SET BY HOLLYWOOD 



== 










"You would never guess they are married" 



It is only of a clever wife that this is ever said. Why let 
youth slip away, youthful radiance fade, when to keep them 
you need but practice a few simple rules of daily care? 



Volume and efficiency 

produce 25c quality 

for only 



10 



TEOPLE have changed, and ideals have changed. 
The "middle-aged" woman is conspicuously ab' 
sent in the modern scheme of things. 
In her place, we have the woman who values the 
social importance of youth — and \eeps it. Glowing 
youth well into the thirties, even the forbidden forties, 
we see it today wherever our eyes turn ! 

Yet the secret is simple ; and the means within the 
reach of everyone — first, last and foremost, correct 
s\m care. The common -sense care that starts with 
keeping the pores open and healthy ; just the regular 
use of palm and olive oils as scientifically saponified 
in Palmolive. 

See the difference one week will bring 

Use powder and rouge if you wish. But never leave 
them on overnight. They clog the pores, often enlarge 
them. Blackheads and disfigurements often follow. 
They must be washed away. 

Wash your face gently with soothing Palmolive. 



Then massage it softly into the skin. Rinse thor- 
oughly. Then repeat both washing and rinsing. If your 
skin is inclined to dryness, apply a touch of good cold 
cream — that is all. Do this regularly, and particularly 
in the evening. 

The world's most simple beauty treatment 

Thus, in a simple manner, millions since the days 
of Cleopatra have found beauty, charm and Youth 
Prolonged. 

No medicaments are necessary. Just remove the 
day's accumulations of dirt and oil and perspiration, 
cleanse the pores, and Nature will be kind to you. 
Your skin will be of fine texture. Your color will be 
good. Wrinkles will not be your problem as the 
yeare advance. 

Avoid this mistake 

Do not use ordinary soaps in the treatment given 
above. Do not think any green soap, or represented 
as of palm and olive oils, is the same as Palmolive. The 
Palmolive habit will keep that schoolgirl complexion. 




THE PALMOLIVE COMPANY (Del. Corp.), Chicago, III 



Palm and olive oils — nothing 
else — give nature's green 
color to Palmolive Soap. 




Advertising Section 




a 



Why experiment if your skin is beginning to 
age — if there are tired hues and wrinkles — if the 
complexion is sallow, blemished? You ran be 
sure! You can start your complexion on the 
road to new youth and beauty at once. 





„„..QTI0N PICTURR 

101 I MAGAZINE ') 
? 



See what happens when yon follow the famous 
Susanna Cocroft home treatment Sleep in the 
astonishing silken mask — and wake up with a 
new complexion! You will be delighted when 
you see the remarkable change ajter just one night. 



New Rejuvenating Silk Mask 

Worn While You Sleep- — 

Brings New Beauty Overnight 



Amazing! A simple, inexpensive treatment — yet you 
wake up with practically a new complexion. Just 
wear this sheer, specially- treated mask one night and 
see what happens. See how the tired lines and 
wrinkles begin to vanish, the blemishes clear away, 
the complexion becomes smooth, fresh, radiant. 



NO matter what methods you may 
have tried before, no matter how 
badly blemished, how sallow, how 
wrinkled your complexion may be — this 
astonishing new method will achieve a 
transformation overnight. 

Here is a scientifically correct silken 
■ mask, so treated that it actually rejuve- 
nates the complexion while you sleep — a 
mask that is at work every instant during 
the night, purifying the pores, reviving the 
starved skin cells, lifting and toning the 
sagging muscles, making the skin soft, 
clear, smooth. A simple, silken mask that 
you scarcely know you have on, yet in one 
night it acts to give you a new complexion 
for the old ! 

Nothing quite like this marvelous mask 
has ever been known before. It is based on 
an entirely new principle of beauty culture. 
Anatomically designed and perfected by 
Susanna Cocroft, famous health specialist — 
based upon her years of experience, and upon 
her unusual 
knowledge of 
anatomy of the 
structure of 
the skin and 
the face. 

Now you 
can quickly 
acquire a 
lovely, flaw- 
less complex- 
ion at little 
cost and with 
little trouble — 
acquire it — 
and keep it so. 



The Skintone Mask 
Treatment for 

— clearing the complexion 
— giving color to the cheeks 
— firming sagging muscles 
—filling out scrawny hollows 
—lifting double chin 
— building graceful neck 
— removing tired lines and 

wrinkles 
— closing enlarged pores 
— resting tired eyes 
■ — correcting excessive dryness 
— correcting excessive oiliness 
— whitening the skin 
—AND— 
The dainty mask is washable 
and can always be kept fresh 
and effective. 



What It Is 

and How It 

Works 

The Susanna 
Cocroft Re- 



juvenating Skintone Face 
Mask does for your 
complexion what gloves 
worn over cold-cream do 
for your hands overnight. 
You know how soft and 
white your hands are in the 
morning after you have 
creamed them and slept 
with the gloves on. The 
new mask works on the 
same principle, except that 
the stimulating tonic cleans 
the face pores, and the 
special nourishing cream 
tones the skin and tissues. 
The silk of the mask is so 
sheer and porous that the 
tiny cells breathe through it. 

Combined with this re- 
markable mask is the Su- 
sanna Cocroft treatment 
for beauty and youth. The 
secret complete is yours. 
You just follow the simple directions, slip 
on the mask — and fall asleep. Let your 
mirror tell the story in the morning ! 

Here's what happens : The soft, sheer 
silken mask, which has unusual medicated 
properties, not only stimulates natural cir- 
culation, but acts to smooth away tired 
lines and to make the skin soft, glowing, 
elastic. The nourishing cream and tonic 
with which the mask is treated stimulates 
the natural functioning of the skin, helping 
to. throw off all waste, all poisons and im- 
purities in a natural way. 

All night, as you sleep, the tiny cells 
breathe through the porous mask, and are 
nursed back to blooming health. Muscles 
are rejuvenated. The face is restored to 
youthful contour. The tiny eye muscles 
and with them the eyes are rested and 
thereby strengthened. Minute by minute 
through the night the skin is cleansed, 
purified, stimulated — and in the morning 




your skin is velvet-like in its 
smoothness, clear, fresh, ra- 
diant ! 



SUSANNA COCROFT 

Famous Health Authority 

For years Susanna Cocroft 
has been in the forefront of the 
great movement for the physical 
and mental betterment of 
women. She has been recog- 
nized by the U. S. Government 
as an authority on women's 
health problems. She has writ- 
ten two bulletins for the U. S. 
Bureau of Education, and her 
helpful writings have many 
times appeared in magazines. 
Through her books, courses and 
treatments she has personally 
helped over 110,000 women. 
Often asked by her health pu- 
pils for advice on improving 
their appearance, she made a 
thorough study of this subject, 
and has brought out many suc- 
cessful scientific treatments for 
the skin. Her crowning achieve- 
ment is this wonderful new home 
method — as effective as a S100 
course of beauty treatments — 
which you give yourself at home 
at a cost of only a few cents a 
treatment. 



Send for Interesting 
Book and Special Offer 

Discover what you really 
can do with your complex- 
ion ! Find out about this 
new method that gives 
youth and beauty to the 
skin quickly, inexpensively, 
overnight. Learn all about 
the extraordinary Susanna 
Cocroft Face Mask. Let 
us send you today, entirely 
without obligation to you, 
our interesting illustrated 
booklet that tells you 
everything about the mask 
— how it works with the 
special tonic and nourish- 
ing cream, how it acts to 
cleanse the pores, lift sag- 
ging muscles, smooth away 
tired lines, restore youth- 
ful contour to cheeks, chin, 
throat. 
This information is yours for the ask- 
ing. May we send it? Mail the coupon 
NOW, before you forget. Remember, 
there's no obligation of any sort. We'll 
be glad to send it. 

THOMPSON-BARLOW CO., Inc. 

Dept. F-153 

136 W. 31st Street New York City 



THOMPSON-BARLOW CO., Inc., Dept. F-153. 
136 W. 31st Street, New York City. 

I am interested. You may send me your interesting 
illustrated booklet concerning the Susanna Cocroft 
Skintone Face Mask and how it works, and also details 
of your special Package Offer. It is thoroughly under- 
stood that this is a request for free information only, 
and that it does not obligate me in any way whatever. 



City. 



.State. 



When you write to advertisers please mention MOTION PICTUKE MAGAZINE. 



3 



E 



WKSTe: 



Advertising Section 



'Personalities of "Paramount 



f Cecil B. 
! DeMille^ 

Director General of Paramount Pictures 

The name of Cecil B. De Mille is written in 
letters of fire and gold across the entire his- 
« tory of motion pictures. 

In the uncharted land of Filming Life he 
has pioneered from picture to picture, devis- 
ing and improvising point after point of 
technique that has since become axiomatic 
with the industry. 

In the wake of his progress he has left more 
than a score of world-encircling productions, 
all Paramount Pictures, and all so successful 
that nothing short of his own "Ten Com- 
mandments" could out-shine them. 

The glory of his example set such a torcr 
to the ambition of others that he may be 
truthfully called director-maker and star 
maker. 

His philosophy is that the motion picture 
can be made the greatest instrument of human 
entertainment and stimulus to perfection e vet- 
dreamt of, and every Paramount Picture he 
makes is practical precept and proof of it. 

If you saw "Male and Female", "Man 
slaughter", "Feet of Clay", "The Golder 
Bed", or "The Ten Commandments", you 
know the art of this super-director. 

Cecil De Mille is now making 
"Sorrows of Satan" 

Jeame Macpherson's 

screen play of 
Marie Corelli's story 



am 



•'■•' 



Setting the Genius of the Screen 

MANY kinds of talent go to the making Today, Business Organization is the 

of great photoplays. Patron, holding the sacred trust in fee for 

Like a precious stone, motion picture genius all the millions of people who seek the 
requires setting, and to do this, guarantees spirit of that intenser life called Art at the 
and money and organization must be forth- motion picture theatre, 
coming from somewhere in advance of the And Famous Players-Lasky Corporation 

is proud to realize that there are 

millions who demand to know 

nothing more about a picture before 

.<T 7* they go than that its name is Para- 



creation of any real values whatsoever. 
In the past the Great Aristocrat 
was the patron of art and within 
the portals of his palace a place was 
made for the Artist. 



mount. 



PRODUCED BT 

| Famous Players -LaskyCorp I 

ADOLPH ZUKOR-PRCSIOEMT 



Every advertisement in MOTION PICTUBE MAGAZINE is guaranteed. 



A BREWSTER PUBLICATION 



Motion Picture Magazine 

Founded by J. Stuart Blackton in 1910 — Trademark Registered 

MARCH, 1925 

Vol, XXIX ^ Number 2 

(A Complete Table of Contents will be found on page 9) 



HOKUM? WELL, WHY NOT? 

A WELL-KNOWN motion-picture producer has lifted up his voice in anguish. He says he 
has tried to give the public good pictures; but they will have none of them. Therefore, he is 
prepared ruthlessly to forsake quality and wallow in hokum forever more. 

It would seem to be time that someone rushed to the rescue of the much-belabored public. 

There is something to be said in defense of the abused hokum. There are, in fact, certain 
sound and fundamental facts upon which the public's supposed appetite for hokum is based. 

In the first place, hokum, when analyzed, discloses some surprising ingredients which go into 
the mixture. 

What, indeed, is hokum but dramatic situations so sound in their basic elements that they 
have become trite and overf amiliar ? 

When the chemically pure young lady snaps her fingers in the face of the cruel villains and 
says: "Rags are royal raiment when worn for Virtue's sake." she is not depending upon bad 
drama. On the other hand, it is exceedingly good drama. It is drama so tried and so funda- 
mentally correct that it is flourished with the deadly assurance of the family revolver. It is 
literally sure fire. So sure that the crudest hand can — and does — use it with success. 

There can be no just criticism of hokum because of the nature of the beast. The criticism 
rests upon the producers for employing these fine old weapons with such crudity and such a lack 
of finesse that you can hear them creak before they strike. 

The real reason that the public seems to prefer hokum to "good pictures" is due to the character 
of the good pictures. Too frequently they fall overboard into the morasses of "literature." 

The truth is, very few producers or directors fully realize that they are dealing with a new 
medium. In their appealing and earnest effort to give the public better pictures they frequently 
stray off into fields that more properly belong to the spoken drama or written books. 

So, in chagrin and with chastened spirit, they hurry back to the good old hokum which is 
"picture stuff." 

The real remedy would seem to lie in doing hokum better, with more subtlety, and more 
beautifully. 

F. M. Osborne, Editor 
Harry Carr, Western Editorial Representative A. M. Hopfmullcr, Art Director 

Published Monthly by the Brewster Publications, Inc., at 18410 Jamaica Ave., Jamaica, N. Y. 

Entered at the Post Office at Jamaica, N. Y., as second-class matter, under the act of March 3rd, 1S79. Printed in the U. S. A. 

EXECUTIVE and EDITORIAL OFFICES, 175 Duffield Street, Brooklyn, N. Y. 

Eugene V. Brewster, President and Editor-in-Chief ; Duncan A. Dobie, Jr., Vice-President and Business Manager; George J. Tresham, Circulation Director; 

E. M. Heinemann, Secretary; L. G. Conlon, Treasurer. Also publishers of BEAUTY, out on the fifteenth of each month; the CLASSIC, out on the twelfth; 

MOVIE THRILLERS, out on the fifteenth. MOTION PICTURE MAGAZINE is issued on the first of the month preceding its date. 

Subscription $2.50 a year in advance, including postage in the United States, Cuba, Mexico and Philippines; in Canada, $3.00. Foreign countries, $3.50. Single 
copies, 25 cents, postage prepaid. U. S. Government stamps accepted. Subscribers must notify us at once of any change of address, giving both old and new address. 

Copyright, 1925, in United States and Great Britain by Brewster Publications, Inc. 

5 
PAG 



I 



f 



"^MOTION PICTURr 
01 I MAGAZINE L 



Advertising Section 



The Most DarintfBook, 
Ever Written! 



Elinor Glyn, famous author of "Three Weeks," has written an 
amazing book that should be read by every man and woman 
— married or single. "The Philosophy of Love" is not a novel 
— it is a penetrating searchlight fearlessly turned on the most 
intimate relations of men and women. Read below how you can 
get this daring book at our risk — without advancing a penny. 



WILL you marry the man 
you love, or will you 
take the one you can get? 

If a husband stops loving 
his wife, or becomes infatu- 
ated with another woman, 
who is to blame — the hus- 
band, the wife, or the "other 
woman"? 

Will you win the girl you 
want, or will Fate select your 
Mate? 

Should a bride tell her hus- 
band what happened at sev- 
enteen? 




ELINOR GLYN 
"The Oracle of Love 



Will you be able to hold the love of 
the one you cherish — or will your mar- 
riage end in divorce? 

Do you know how to make people 
like you ? 

IF you can answer the above questions — 
if you know all there is to know about 
winning a woman's heart or holding a 
man's affections — you don't need "The 
Philosophy of Love." But if you are in 
doubt — if you don't know just how to 
handle your husband, or satisfy your wife, 
or win the devotion of the one you care 
for — then you must get this wonderful 
book. You can't afford to take chances 
with your happiness. 

What Do YOU Know 
About Love? 

DO you know how to win the one you 
love? Do you know why husbands, 
with devoted, virtuous wives, often become 
secret slaves to creatures of another "world" 
— and how to prevent it? Why do some men 
antagonize women, finding themselves beat- 



1 



What Every Man and 
Woman Should Know 



-how to win the man 

you love, 
-how to win the girl you 

want, 
-how to hold your hus- 
band's love. 
-how to make people 

admire you. 
-why "petting parties" 

destroy the capacity 

for true love, 
-why many marriages 

end in despair, 
-how to hold a woman's 

affection, 
-how to keep a husband 

home nights. 
-things that turn men 

against you. 
-how to make marriage 

a perpetual honey- 
moon, 
-the "danger year" of 

married life. 



— how to ignite love — 
how to keep it flaming 
— how to rekindle it 
if burnt out. 

— how to cope with the 
"hunting instinct" in 
men. 

— how to attract people 
you like. 

— why some men and 
women are always lov- 
able, regardless of age. 

— are there any real 
grounds for divorce? 

— how to increase your 
desirability in a man's 
eye. 

— how to tell if someone 
really loves you. 

- — things that make a 
woman "cheap" or 
"common." 



ing against a stone wall in affairs 
of love? When is it dangerous to 
disregard convention? Do you 
know how to curb a headstrong 
man, or are you the victim of 
men's whims? 

Do you know how to retain 
a man's affection always? How 
to attract men? Do you know 
the things that most irritate a 
man? Or disgust a woman? 
Can you tell when a man really 
loves you — or must you take his 
word for it? Do you know what 
you MUST NOT DO unless you 
want to be a "wall flower" or an 
"old maid"? Do you know the little things 
that make women like you? Why do "won- 
derful lovers" often become thoughtless 
husbands soon after marriage — and how can 
the wife prevent it? Do you know how to 
make marriage a perpetual honeymoon? 

In "The Philosophy of Love," Elinor 
Glyn courageously solves the most vital 
problems of love and marriage. She places 
a magnifying glass unflinchingly on the most 
intimate relations of men and women. No 
detail, no matter how avoided by others, 
is spared. She warns you gravely, she sug- 
gests wisely, she explains fully. 

"The Philosophy of Love" is one of the 
most daring books ever written. It had 
to be. A book of this type, to be of real 
value, could not mince words. Every prob- 
lem had to be faced with utter honesty, deep 
sincerity, and resolute courage. But while 
Madame Glyn calls a spade a spade — while 
she deals with strong emotions and passions 
in her frank, fearless manner — she neverthe- 
less handles her subject so tenderly and 
sacredly that the book can safely be read by 
any man or woman. In fact, anyone over 
eighteen should be compelled to read "The 
Philosophy of Love"; for, while ignorance 
may sometimes be bliss, it is folly of the 
most dangerous sort to be ignorant of the 
problems of love and marriage. As one 
mother wrote us: "I wish I had read this 
book when I was a young girl — it would 
have saved me a lot of misery and suffering." 
Certain shallow-minded persons may 
condemn "The Philosophy of Love." Any- 
thing of such unusual character generally 
is. But Madame Glyn is content to rest her 
world wide reputation on this book — the 
greatest masterpiece of love ever attempted. 

SEND NO MONEY 

YOU need not advance a single penny 
for "The Philosophy of Love." Simply 
fill out the coupon below — or write a letter 
— and the book will be sent to you on ap- 
proval. When the postman delivers the 
book to your door — when it is actually in 




your hands — pay him only $1.98, plus a few 
pennies postage, and the book is yours. Go 
over it to your heart's content — read it from 
cover to cover — and if you are not more 
than pleased, simply send the book back in 
good condition within five days and your 
money will be refunded instantly. 

Over 75,000,000 people have read Elinor 
Glyn's stories or have seen them in the 
movies. Her books sell like magic. "The 
Philosophy of Love" is the supreme culmi- 
nation of her brilliant career. It is destined 
to sell in huge quantities. Everybody will 
talk about it everywhere. So it will be ex- 
ceedingly difficult to keep the book in print. 
It is possible that the present edition may 
be exhausted, and you may be compelled 
to wait for your copy, unless you mail the 
coupon below AT ONCE. We do not say 
this to hurry you- — it is the truth. 

Get your pencil — fill out the coupon 
NOW. Mail it to The Authors' Press, 
Auburn, N. Y., before it is too late. Then 
be prepared to read the most daring book 
ever written ! 



The Author*' Press, Dept. 258, Auburn, N. Y. 

Please send me on approval Elinor Glyn's mas- 
terpiece. "The Philosophy of Love." When 
the postman delivers the book to my door, I 
will pay him only SI. 98, plus a few pennies post- 
age. It is understood, however, that this is not 
to be considered a purchase. If the book does 
not in every way come up to expectations, I 
reserve the right to return it any time within 
five days after it is received, and you agree to 
refund my money. 



De Luxe Leather Edition-- We nave prepared a Limited Edi- 
tion, handsomely bound in Royal Blue Genuine Leather and 
lettered in Gotd with Gold Tops and Blue Silk Marker*. No 
expense spared—makes a gorgeous gift. If you prefer this 

leather edition--aa most peopie do--simply eisD below. . 

place a cross in the little square at the right, and pay f 



; postn 



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IMPORTANT — If it is possible that you may not be 
at home when the postman calls, send cash in ad- 
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ment must be made in advance. Regular Edition 
$2.12. Leather Edition $3.12. Cash with coupon. 



6 



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Advertising Section 




Give us Telephones 

Following the war, when business and social life surged 
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New York's famous Hester Street, as duplicated in the Famous Players-Lasky studio for Salome of the Tenements 



THIS NUMBER CONTAINS: 

Our Portrait Gallery Studies of Alia Nazimova, James Kirkwood, Lila Lee, Dorothy Mackaill, Jack Mulhall, Willard Louis, 

Corinne Griffith, Laura La Plante and 'Viola Dana 11-19 

Where the Atmosphere Is At Recounting the problems of the location director by Harry Can 20-21 

Just a Little Family Affair Portraits of stars with their mothers and fathers 22-23 

What the Fans Write to the Stars All about the letters the stars really get and those they'd like to get 24-25 

The Doctor Reproduction of a screen painting made from a famous painting 26 

The Boy on the Cover An interview with the popular Ben Lyon by Dorothy Day 27 

Styles Are Dictated in Hollywood, and Paris Designers Follow Them by Dorothy Donnell Calhoun 28-29 

Snap Judgments Pictures of well-known stars photographing other stars 30-31 

The Story of My Life The autobiography of a "different" screen hero by Ronald Colman 32-1A- 

For the Picture Fans of 2025 Lillian Gish and Colleen Moore preserved in marble and bronze 35 

Confidences Off-Screen Chats with Norma Shearer, Wallace Beery, the Talmadges, and others by W. Adolphe Roberts 36-37 

How Our Readers See the Stars A second page of cartoons in our Artists' Contest 38 

Learning to Love Constance Talmadge 's new picture told in short-story form by Gordon Malherbe Hillman 39-41 

"This Business of Being a Vampire" Two well-known vamps debate the matter by Nita Naldi and Barbara La Man 42-43 

Pieces of Hate Circulated against the Handsome Men and the Beautiful Women of Hollywood by Saxon Cone 44-45 

The Winners of the Month Constructive reviews of Isn't Life Wonderful, Greed, Romola, and The Tornado. . by Laurence Reid 46-47 

Have You a Pet Superstition? Pictures of five stars who believe in Lady Luck 48 

Whose Hand? The third instalment of our serial of romance, mystery, and intrigue by W. Adolphe Roberts 49-51 

Reeling With Laughter — ■ — A number of scenes from comedies that will soon be released 52-53 

What I Can Read in the Faces of the Film Stars \ 

Analyses of Bessie Love, Anna Q. Nilsson, Adolphe Menjou, Milton Sills by F. Vance de Revere 54-55 

Critical Paragraphs About New Pictures Recent releases reviewed in brief by the Editorial Staff 56-57 

That's Out Keen comment about the people and the affairs of Movieland by Tamar Lane 58 

Question: Can a Bishop Cheat at Chess? Claude Gillingwater and Alec B. Francis answer this question pictorially 59 

Clara Bow and Dagmar Godowsky In poses specially made for the readers of this magazine 60-61 

Picking Actors for Parts Revelations as to the importance of certain types by Harry Can 62-63 

Turning the Tables Scenes on and off stage with Conway Tearle and Madge Kennedy 64 

"In Days of Old When Knights Were Bold"— — Introducing Marc Gonzales, a new screen hero 65 

Aileen Pringle A study of this popular star made for you in her own home 66 

Along the Atlantic Way News and gossips of stars and studios in the East by Hal Howe 67-68 

They're Getting Each Other's Number An amusing snapshot of Richard Dix and his Director 69 

On the Camera Coast News and gossip of stars and studios in the West by Harry Carr 70-71 

A Page of Promising Newcomers Five new players which our readers recommend for Stardom 72 

We're Asking You A Question-Box conducted by the Editorial Staff for the benefit of the readers 73 

The Answer Man Brief replies to the fans who have asked for information about stars and pictures 74—75 

Letters to the Editor A department containing prize- winning letters from readers, and excerpts from letters 16 

Fables in Celluloid Written and sketched with apologies to Msop and his illustrator. . .by Margaret N orris and Helen Hokinson 78 

What the Stars Are Doing Brief information about screen players Conducted by Gertrude Driscoll 80 

9 
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^MOTION PICTURF 
W I MAGAZINE L- 



Advertising Section 



yyiTH a rough washcloth, work up a 
heavy lather of Woodbury' s Facial Soap 
and rub it into the pores thoroughly, 
always with an upward and outward 
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Cutout 1 'hit coupon and tend it to us today 

Copyright, 1924, by The Andrtw Jergtns Co. 



'10 



Every advertisement in MOTION PICTUEE MAGAZINE is guaranteed. 



OUDPOQTQPilTGPiLLCQy 




Maurice Goldberg 



ALLA NAZIMOVA 



Not since she played Salome have we seen Nazimova on the screen. Now she is staging her come- 
back in The Redeeming Sin. Her next picture will be My Son, from the stage play of that name 




JAMES KIRKWOOD 

Such a versatile star is James Kirkwood that he is in 
demand both on stage and on screen, so he vacillates 
between the two, playing stage roles fall and winter, 
making pictures spring and summer. Now he's speaking 
for himself on Broadway in Ladies of the Evening. In 
the left-hand corner you see him in Top of the World- 
with young* Philip de Lacey. If Mr. Kirkwood looks 
unusually proud, you'll find the answer on the opposite 
page 



JACK 
MULHALL 

Once Jack Mul- 
hall was merely 
"that good-looking 
young man" who 
played opposite 
Behe Daniels. Now 
he is a star with 
a following all his 
own. You'll see 
him soon in The 
Three Keys 




Henry Waxnian 




W1LLARD 
LOUIS 



Henry YVaxman 



You will remember Willartl Louis first for his remark- 
able impersonation of the Prince of Wales in Beau 
Brum me I, the picture John Barrymore" made famous. 
From this he leaped to fame in one jump as the 
imperturbable Babbitt. Now Warner Brothers are 
featuring him as The Man Without a Conscience. But 
you need only glance at the right, where you see him 
with bis little daughter, to know that he could never 
be given such a title in real life 





VIOLA 
DANA 





4 





JH| Edwin Bower Hesser 






Altho V.ola Dana is in demand everywhere 
she refuses to sign a contract, but chooses 
her pictures and whom she will work for 
with enviable independence. Because she 
will not be pigeon-holed as Viola Dana 
comedienne, she has gone in for Sj 

for First National with Milton Sills. These 

two have played together before, as you 

will see by the picture at left 



I 




A corner of Inyo County which, tho it really isn't at all wild, seems to be the only part 
of California that still looks like the Wild West 

Where trie Atmosphere Is At 

Harry Carr tells you about the troubles of tbe much-maligned location director, who has to 

make things look like what they ain't 



I 



GOTTA find Egypt and the River Nile and a lot 

of pyramids," said the director looking in at the 

front door, "and it's got to be somewhere around 

Hollywood because I'm behind the schedule." 

And the next director who pokes his head in at the door 

wants Scotland ; another one demands the Canadian 

Northwest ; and still another one insists that they've got 

to find for him a Massachusetts country town, and it's got 

to look exactly like New England and it's got to be in 

California. 

These are among the reasons why the location director 
acquires gray hair and nervous dyspepsia. 

Nevertheless he finds them. He finds a Scotland that 
looks more like Scotland — than Scotland, and a place that 
looks the way the South Seas ought to look, even if 
they dont. 

Tn all probability, when you see the Canadian Northwest 
A in the movies, you are in reality looking at Big Bear 
Lake in the San Bernardino Mountains, about sixty miles 
from Los Angeles. 

One of the champion locations of California is another 
lake resort very near Big Bear. On its shores is a sum- 
mer hotel, built in the manner of a French Norman vil- 
lage. Often you will see two companies working there 
at the same time. Probably the cameras will be standing 
near together. One will be pointed north by north-north- 
east at a village in France, where the actors are talking 
with their shrugging shoulders and saying La-la-la, and 
the other camera is pointed two points off to starboard 
at a Maine lake where the gallant, sad-eyed hero, with an 
honest heart and an empty pocketbook, is getting ready 
to rescue the millionaire's daughter from a canoe accident. 
When you see a picture laid in rural New England, the 

(T\ chances are ten to one it was made in Pleasanton, Cali- 

P20 

1A0S 



fornia. When the director tells the location man to find 
him that Massachusetts town — oh, that's almost too easy. 
Pleasanton was made to order for him. 

This is a curious old town near San Francisco. It was 
settled by Massachusetts and Connecticut folks back in 
the fifties. They brought their familiar architecture with 
them — even to the old country hotel with the piazza and 
the country church with the belfry. It looks more like 
the traditional New England towns than the real ones do 
now. 

P"or the New England farm country, they often use a 
town in Northern California, called Jamestown. There is 
one solitary strip of road about twenty miles out from 
Los Angeles, near Glendora, that looks exactly like Rhode 
Island— stone walls and all. No doubt it happened to be 
settled by someone from that section. 

"Derhaps the champion location town in the whole world, 
■*■ however, is Sonora, in central California. It is the 
scene of most of the pictures supposed to be laid in the 
days of '49 — the Bret Harte stuff. Griffith's Scarlet Days 
and dozens of other big pictures were made there. It is 
a curious old place, hoary with tradition. Mark Twain 
used to live there in his younger newspaper days. The 
old-timers snort with scorn, however, when you try to get 
Mark Twain stories out of them. They cant see why any- 
body would bother to read any of the writings of that 
lazy Sam Clemens. He just wrote a lot of foolishness. 
Now there was a feller who lived there oncst and edited 
the local paper who could write grand pieces. Now he 
was a real writer ! Sam Clemens ! Huh ! 

There's an old graveyard in Sonora which stands as a 
monument to piety and idealism. In the days of the gold 
excitement, they discovered that the bodies of the dead 
were laid in gold ore ; that the whole graveyard was a 



onoN picturi 

MAGAZINE 



mine. The pioneers had a meeting and talked it over. 
They decided that they would let "God's Acre" alone. If 
it was gold — well, it was gold. To this day they have 
never allowed anyone to dig into it. 

The last location director who went to Sonora came 
home with a bleeding heart. He found that someone had 
put up a garage. Spoiled the whole thing. Took away 
the flavor. They will still continue to use Sonora; but 
they will have to disguise that garage with a false front 
which they will have to build for every picture. 

The fact is, a "hick town" is the most difficult thing in 
the world to find — especially in a new. progressive country 
like California. Garages and paved roads are the two 
flies in the ointment of the location director's happiness. 
They take all the hickness out of the hick towns. 

'T'wo of the best Western frontier towns are Tehachepi, 
■*■ which is quite close to Los Angeles, and Independence, 
in Inyo County — in the Owens River country, which is 
the distant source of the Los Angeles city water. Owing 
to the fact that Los Angeles has bought up huge tracts of 
land in that country in order to control the water rights, 
the towns thereabout have not gone ahead so rapidly as in 
other parts of the State. Independence also has the 
motion picture advantage of being the most American 
town on the map. As a matter of actual census fact, it 
probably has fewer foreign-born residents than any other 
town in America. It was settled in the fifties during the 
gold excitement. It was the early home of Mary Austin, 
the novelist. It looks very much as it did in the old days. 

There are several 
other old gold towns 
in that part of the 
country — like Bodie 
— which remain very 
much as they were. 
Victorville, on the 
edge of the desert, is 
also much used in pic- 
tures. Not very far 
from Victorville is an 
old town called 
Ehrenberg which was 
a big, prosperous 
town once ; but is now 
deserted. This is 
simply duck soup for 
the movies. They can 
do with it what they 
will. 

For cattle pictures, 
the location directors 
have several "outs." 
One of the best cattle 
locations is Prescott, 
Arizona, where When 
a Man's a Man and 
most of the Tom Mix 
pictures were made. 
The location men also 
find good "cattle 
stuff" at Bishop, Cali- 
fornia, in the high 
Sierras, and on the 
famous old O'Neill 
Ranch between Los 
Angeles and San 
Diego. 




Tn 1915, San Diego 
■*• gave a World's 
Fair — a sort of twin 



This church has appeared in hundreds of motion pictures with a 

rural New England background. It was erected in Pleasonton, 

California, years ago by Massachusetts and Connecticut folks who 

brought their architecture with them 



of the Panama-Pacific Exposition in San Francisco. It 
wasn't such a very large fair ; but it had the most marvel- 
ously beautiful buildings ever constructed. They were all 
old Spanish, the pre-Mission style of architecture. As 
these buildings are still standing, you can well imagine 
what the casting directors do to them. They figure in 
nearly all the South American pictures and the Spanish 
pictures and the Portuguese pictures and goodness knOws 
what else. The Dictator was made almost entirely on the 
Exposition grounds. 

"VT^7"hen you think you are looking at the Mississippi, 
v they've got you fooled; it's the Sacramento River in 
California. Luckily, it looks just like the Mississippi in 
the old Mark Twain days. The river steamers pull up to 
the grassy banks and load and unload just any old place — 
as on the Mississippi. 

It has the additional advantage of being far more beau- 
tiful than the real Mississippi. Huck Finn and hundreds 
of other pictures have been made there. Oddly enough, 
for one of the first times in the history of pictures, it is 
just now being used by the Lasky company as its own 
self. They are taking a picture of the rough river days 
of '49, and for once the Sacramento River is the Sacra- 
mento River in a picture. 

The Russian River and several other rapid streams in 
Northern California are used in various pictures for 
Canada and the Rocky Mountains. 

"Snow stuff" is usually made in Truckee, California, 
near Lake Tahoe in the high Sierras. Of late years, the 

companies have got in 
the way of going to 
Banff, in Canada, but 
the best snow stuff 
ever made has been in 
Truckee. 



r T T HAT director who 
■*- was looking for 
the River Nile found 
it at Balboa Beach, 
fifty miles south of 
Los Angeles. This 
was one of the funny 
tricks of the movies. 
Balboa is a gay sum- 
mer resort, populated 
in July and August 
largely by flappers 
from boarding- 
schools. They have 
canoe parties and 
launch parties and so 
on. But down the 
middle of the bay is a 
long sandy island. 
Most of this island is 
settled with summer 
cottages, but one end 
is forlorn and de- 
serted. This is where 
they found the Nile. 
They faked in some 
pyramids and it 
looked so much like 
the Nile that you ex- 
pected to see Cleo- 
patra bob out at any 
moment. If the 
camera had as much 
as looked out of the 
(Continued on page 108) 



I 



108) A 

21 r 

PA fill 



n 





Here's a jolly tea-party for 
three, served by Patsy Ruth 
Miller, who is rightly boastful 
about her beautiful, aristocratic 
mother and her jolly father, 
who wants three lumps of sugar 
in his tea — and gets four! 



Just 

a 

Little 
Family 
Affair 



Even if Charles Ray didn't 
appear in this picture, we'd 
know to whom this mother 
and father belong. And 
isn't Charlie exactly "a chip 
off the old block," as they 
say in rural New England, 
when they mean "isn't he 
the exact image of his dad"? 



MR. AND MRS. MILLER 

AND 

PATSY RUTH 




ARE the fathers and 
■^* mothers of screen 
stars proud of their .chil- 
dren? But, of course,that's 
a foolish question to ask, 
and deserves some such 
foolish answer as "Does 
the sun rise in the East?" 
or "Does a cat love 
cream?" And if you dont 
believe that screen stars 
are proud of their mothers 
and fathers, study these 
pages and watch for others 
that will appear in 
subsequent numbers 



MARIE PREVOST 

AND 

HER MOTHER 



Below, is a triangle situation that always has a 
happy ending. There are no finer family pals 
in Screendom than Lois and her mother and 
her dad. Daughter has just finished Contra- 
band, in which she has the only feminine role, 
and now she's starting The Thundering Herd 




Kenneth Harlan, to 
whom Marie Prevost 
was married recently, 
says he has the grand- 
est mother-in-law in 
the world. As she 
stands by her daugh- 
ter in the picture 
above, she could easily 
be mistaken for 
Marie's big sister 



LOIS WILSON 

WITH 
HER MOTHER 

AND 
HER DADDY 



23 
PAG 



i 



Sketches 

by 
Eld on 
Kelley 





Pity the poor movie man whose wife goes thru his 

pockets and discovers friendly little notes signed in a 

girlish hand 



THIS is an article about You. 
You, who cover millions of sheets of note-paper 
a month with incendiary words of adoration for 
the picture stars ; you who spend a fortune in 
stamps yearly to tell Corinne Griffith, Valentino and Ben 
Turpin how beautiful they are ; you who write from Main 
Street, from battleships, from Brazilian heat and Alaskan 
snows, from lonely ranches and just as lonely city offices, 
from Europe, Asia, Africa, Australia and points west, to 
pour out your hearts before these glorious beings of the 
screen — you will all find yourselves here. 

You search the dictionaries and synonym books more 
ardently than the crossest cross-word puzzle addict, for 
adjectives with which to tell what you think of the stars. 
But did you ever wonder what they think of you — their 
unseen admirers, their unknown friends, their unintro- 
duced lovers? 

I have just finished reading hundreds of fan letters — 
which leave me, an outsider, with sensations similar to 
those experienced in crossing the English Channel in a 
heavy sea and I am convinced that Harold Hayseed, who 
sits down in the Kansas farmhouse after supper to tell 
Gloria Swanson (or Mae Murray or Lois Wilson) all 
about himself and his emotions, winding up a seven-page 
epistle with the words "Now, do write me a nice long 
letter. I will be expecting it, remember," actually believes 
that Gloria. (of Mae or Lois) is going to take her pen in 
hand, when she gets home from 
the studio and has the supper 
dishes done, and write him. 



Harold Hayseed 
sits down in the 
Kansas farm- 
house after 
supper and tells 
Gloria Swanson 
or Mae Murray 
or Lois Wilson 
all about him- 
self and his 
emotions 



What the Fans 



r I 'HIS article holds a profitable lesson 
-*■ for the fans who scrawl off hasty notes 
to the movie stars, gushing over them; 
wheedling them for something, or offer- 
ing something; asking their advice, or 
insulting them. Such letters are not read 
by the stars 



And Hilda Highschool, who fills six sheets of tinted 
note-paper with exclamations, capital letters and underlined 
words to Richard Dix (or Jack Gilbert or Milton Sills), 
and concludes by begging him not to disappoint her — 
usually with two s's and one p — as she has told all the 
other girls she has written, and wont they be mad when 
she gets a real letter from a live movie star to show them 
— honestly thinks that Richard or Jack or Milt is going to 
break all engagements to sit clown and write her ! 

Such naivete is incredible, but no more incredible than 
the other things one finds in fan letters. A woman of 
thirty-four writes Cecil De Mille, offering herself for 
adoption, as she has heard he has several other adopted 
children. A university professor begs Estelle Taylor to 
allow him to be her handmaid, and promises to bring a 
whip for her to beat him if he does not obey her lightest 
wish. A spiritualist mails in a claim to all the picture 
plots of a certain director "because her Astral Self whis- 
pered' them in his ear." A lady signing herself "grand- 
mother," encloses a stamp asking Novarro to state his 
preference in color, size and weight for the bed socks she 
is going to knit him. And a ranchman begs Pola Negri 
to marry him and promises he will hire a woman to 
do the heavy work if she will ! 

Then, too, every fan considers 
himself or herself an exception. 
The star, will tell you that the 
most familiar beginning to a letter 
is : "I dont want you to 
think I am one of those 
movie-struck people, 
but " 

And then they go on to 
prove that they arc "one of 
those movie-struck people." 




"Please send 
me a big pic- 
ture of yourself, 
not one of the 
little ones like 
you sent Sadie 
Greenbaum last 
week" 



! 




T)ola Negri receives an 

■*• average of a thousand 

fan letters a week. If she 

gave up her screen work, 

went without meals and an- 
swered them all, she would have to write about a hun- 
dred and fifty a day. Yet every other fan note pleads 
the sender's right to personal consideration. "I am a 
soldier in an army hospital. My lungs are gone with 
gas and they say I wont live a year. Please, Miss 
Negri, wont you write a nice, long, sweet letter, and 
cheer me up?" Or: "I love you better than anybody 
else could, so I want a dear, little letter from you, tell- 
ing me if there's any hope for me." 

An Italian soldier has been writing to Pola for a 
year, ardent missives until the Italian office-boy. who is 
called in to translate them, blushes and quite evidently 
censors them. He sent her his war medals, and. 
recently, a bundle of clippings from Neapolitan news- 
papers, describing how he had fought a duel with some 
base wretch who had dared not to admire her as Bella 



24 



Write to tke Stars 



THE letters the motion picture players are really in- 
terested in are those which contain honest criticism, 
or offer suggestions, or praise some special bit of work 
in a picture. These notes are the only ones read per- 
sonally by the stars. It was the volume of letters of 
this sort from the fans that decided Mary Pickford 
not to make Cinderella 




Donna ! An old man of eighty-five has been writing 
charming, whimsical notes to "The Dear Little Madame" 
for two years. 

Pola's fan mail varies from the little girl "named 
Martha, aged ten," who writes 
in painful, childish letters that. 
"When my chum, Jennie and 
me play movie star, Jennie is 
Norma Talmadge but I am al- 
ways Pola Negri" — to love let- 
ters that come under the fire 
law and are hot to the touch, 
proposals, mostly from men in 
the lonely spots of the earth, 
South American diamond mer- 
chants, trappers, millionaire 
ranchmen (enclosing snap-shots 
of lean, bronzed men with wist- 
ful eyes), sailors and, above 
all, foreigners, exiles in a 
strange land, couched in quaint 
terms. 

"You send me your picture ! 
You do me that honor ! Think 
of it, Madame Negri — me so 
maigre, you so great!" 

The Japanese are ardent 
movie fans, but few of them 
can express their honorable sen- 
timents of sincerest devotion in 
English. So in Japanese city 
squares there are booths where a professional fan letter- 
writer sits all day and covers rice paper with polite com- 
pliments for Sun-Hair Mary Pickford and Hon. Chaplin, 
who walks in different directions. In India they go still 
further and sell printed fan letter-forms with the name 
to be filled in according to the writer's preferences. Even 
our own country seems to have professional letter-writers. 
A man advertised lately in a New York paper that he 
would guarantee to write a note to any movie star, put 
in such terms that he or she would send a personal 
reply ! 

Tho there are still many fans who believe that Santa 
Claus brings presents, the stork brings babies, and a 
two-cent stamp invested in a letter to a screen hero or 
heroine will bring a reply from one whose time is 
worth two hundred dollars a day, some of the more 
sophisticated movie fans invent all sorts of artful 
schemes to acquire their idol's actual autograph. They 
send presents of jewelry, candy, home-made cake, 
fancy-work and money, which are returned if valuable, 
and given to charity if not. They send their letters 
marked Personal or Important or Serious Matter, 
by air mail, registered mail or special delivery, and 
some of them enclose checks made out to the stars 
and needing their own signature before they can be 
cashed. 




Benny Alexander and 
others of the younger 
generation of actors 
are not exempt from 
love letters 



Hilda Highschool fills six 
sheets of tinted note-paper with 
exclamations, capital letters, 
and underlined words to 
Richard Dix or Jack Gilbert 
or Milton Sills 



"Can letters are of 
A several very definite 
classes : First in num- 
bers are the letters 
from those, mostly chil- 
dren, who want some- 
thing for nothing. They 

usually enclose (or mclose or even awclose) a two-cent 
stamp and "Will you please send me a big picture of your- 
self, not one of the little ones like you sent Sadie Green- 
haum in the next block, last week." Sometimes they for- 
get to en, in or (inclose the stamp. 

When a child who collects movie stars' pictures grows 
up, he becomes an autograph fiend. One of the greatest 
nuisances of the fan-mail reader is the writer who 
sends in an autograph book to be signed, or a sofa-pillow 
top with Roosevelt's signature embroidered in green silk 
and Jack Johnson's in red. It is not betraying any state 
secrets to say that very few autographs of movie stars 
which find their way on pictures or paper into the homes 
of strangers, were written by the stars themselves. There 
is one man at the biggest studio in Hollywood who can 
imitate the handwriting of every player on the lot. A 
rubber-stamp signs the photographs, and a secretary or 
publicity man signs the letters. 

When Wanda Hawley was a new Lasky star, some 
enterprising person conceived the notion of having mono- 
grammed note-paper made with W and H entwined in 
gilt, and of hiring fifty girls to write personal letters to all 
the exhibitors purporting to be from Wanda, urging them, 
in the friendliest terms, to come to see her. The idea 
was to stress the intimate, human side of 
the business, and interest the exhibitors 
in viewing her first picture. But the 
writer of the form letter over- 
did the thing. The wives of 
the exhibitors, on their noc- 
g^ turnal forays thru their hus- 

band's pockets, discovered the 
friendly little notes all signed 
Wanda Hawley in a girlish 
hand — fifty different girlish 
hands and, never having heard 
{Continued on page 84) 



A woman of 
thirty-four 
wrote to Cecil 
B. De Mille 
of f erin g her- 
self for adop- 
tion, as she 
had heard 
that he has 
several other 
adopted, 
children 




25 
PAG 



t 




THE DOCTOR 

Here is the second in the series of famous paintings which Arthur 
Maude is transferring to the screen for Universal Pictures. There 
will be twelve pictures in all and Margaret Morris will be featured 
in every one of them. The first in the series was a story woven 
about Millet's famous canvas, The Angelus. The painting repro- 
duced here, The Doctor, doubtless is familiar to all of you, and it 
will be interesting to compare this motion picture study with a 
print of the original picture, and observe how faithfully it has 
been copied for the screen 



1 



26 



M_ 



And Paris Designers Follow Them 



By 

DOROTHY DONNELL 
CALHOUN 



seen in a raffia petticoat, she discovers a 
trunk of evening gowns and negligees 
washed up on the beach, dresses in them, 
wins the heart of the young aviator whose 
aeroplane has been wrecked and turns out 
to be white and the daughter of a mis- 
sionary. 

Beautiful gowns are as essential to the 
success of a motion picture as a beautiful 
heroine. 

American women never had the oppor- 
tunity of seeing the creations of the great 
French modistes with their own eyes. In 
the old days before the movies, their nearest 
contact with the fashions was the spring 
opening of the Bon Ton, or the Bee Hive. 
Now at their neighborhood movie house they 
can sit and watch incredible gowns, improb- 
able hats, and even the latest thing in 
■ negligees and lingerie displayed upon the 
screen. 

Listen in at the conversation of the out- 
going matinee audience after a Norma Tal- 
madge picture. Eleven women out of every 
dozen are discussing the clothes, not the acting or the story. 
The other woman is so busy mentally ripping up her old 
brown satin and combining it with a yard and a half of me- 
tallic lace and some gold buttons, that she isn't talking at all. 

"Did you like that dress she wore in the scene where 
the villain was attacking her — the white with the lace 



Designed 

and - 

Sketched 

by 
Howard 
.Greer 



A six-months- 
old evening 
gown for 
Anna May 
Wong, made 
of white vel- 
vet with gold 
applique, ma- 
terials that 
are now 
highly popular 



"X 




panniers r 

"What I wonder is, 
why couldn't I have a 
black velvet like the one 
she wore when she was 
eloping to escape from 
her cruel 
husband?" 

" gold 

net over 
black. Of 
course I'm 
a little 
stouter than 

Norma " 

Still, you 
argue skepti- 
cally, women 
after all dont 
have much to 
say about what 
they w ear. 
The styles are 
dictated to 
the m by the 
commercial market. 
"Well then, what about 
this? Twenty-two of 
the Paris dressmakers 
who are quoted as 



/ 




Betty Compson wore 
this gown in Locked 
Doors. It was de- 
signed months be- 
fore the Pari? 
modistes began their 
campaign for Direc- 
toire styles 



Perhaps they are blonde 
and statuesque like 
Claire Windsor, 
v i v a c i o u s like 
Y i o 1 a Dan a, 
wistful like 
Corinne Grif- 
fith, plump like 
Betty Comp- 
son, thin like 
Eleanor 
Boardman. 
It takes an 
artiste, not 
a dress- . 
maker or 
mail-order 
catalog, to 
discover a 
woman's type 
and bring out 
her possibili- 
ties by the right 
clothes. 

Gloria Swan- 
son, when she 
first came to 
Lasky's from bath- 
ing comedies, protested 
against evening 
gowns. "I cant 
wear them !" she 
wailed, "they're 
not becoming to 
me!" (Continued 

on page 110) 



style authorities, send a staff 
of designers regularly to the 
picture houses where Ameri- 
can photoplays are being 
shown, to get nczv ideas for 
gowns! And the Garment 
Capitol Center in New York, 
where for five years manu- 
facturers have been design- 
ing styles for American 
women without consulting 
Paris, has a board of sk etch- 
ers who attend the movies 
and copy the creations of 
Hollywood ! 

The movies may be in their 
infancy, but out of the 
mouths of babes and suck- 
lings cometh dress wisdom ! 

American women have 
been dictated to in the past, 
but the films are teaching 
them to study types and to 
discover their own type, in 
size, coloring and age. Per- 
haps they are tall and dark 
like Betty Blythe, or tiny and 
dark like Marion Nixon. 




Here is a prophecy for 1926, made 
by Howard Greer. This costume 
will be worn by Pola Negri in a 
picture she will make during the 
summer months, and which will 
be released early next winter 



29 

PAG 



t 









Snap Judgments 

We give you an opportunity to observe trie stars 
snapping at one another 



When Rudy's best pal and 
severest critic snaps him, 
she doesn't have to say, 
"Look pleasant, please!" 
For Rudy just cant help 
smiling from ear to ear 
when Mrs. Rudv is around 





Rosemary Theby Heft), 
known to the world as a 
vamp, chooses for her sub- 
ject Mary Philbin, the in- 
genue. But caught off 
screen, they both look very 
disarming and altogether 
charming, dont you think? 



I 



30 

GE 




"One more look like 
that and you'll break 
the lens," Glenn 
Hunter warns Tommy 
Meighan. Glenn 
wants the world to 
know his camera set 
him back one full 
day's pay 



Max, the versatile 
monkey from Fox 
Comedies, can play 
any part from actor 
to cameraman. And 
even the baby doesn't 
seem to realize he 
isn't a human being 



No one will believe 
this stalwart lad on 
her arm can be 
Myrtle Stedman's own 
son. But then, Sonny 
was raised in a healthy 
country. "May your 
shadow never grow 
more!" cries George 
Hackat borne in de- 
spair from behind his 
camera, as he tries to 
get them both on one 
plate and sees Mother 
being crowded right 
out of the picture 




WHO ever heard of making ones work 
also ones hobby? But that's exactly 
what many of the movie stars do. Not only 
do they work daily with a camera, but they 
play with one in their leisure hours 



Lon Chaney and Ford 
Sterling were clowns to- 
gether in He Who Gets 
Slapped. Above, they're 
posing in costume in a 
little comedy all their 
own called He Who Gets 
Snapped 





The picture at the left 
might be titled Who 
Shoots First? It is a 
friendly duel, in which 
cameras have been 
chosen instead of pistols, 
and John Gilbert and 
Aileen Pringle are the 
amicable enemies 




The back's the best 
part of the goose — 
even on the plate of 
a camera ! Especi- 
ally when the goose 
is Arthur Stone, the 
Hal Roach come- 
dian who can set the 
whole world laugh- 
ing. Marie Mos- 
quini is the snappy 
flapper 



Here's a problem 
for you: Will Peter 
the Great exercise 
his dog's prerogative 
and snap at young 
Edwin Hubbell 
when the little 
cameraman snaps 
him? 



The picture above, 
in which May 
McAvoy is posing 
for Ronald Colman, 
is number one of a 
pair labeled "Before 
and After Taking"— 
meaning taking a 
trip to Italy to play 
Esther to Ramon 
Novarro's Ben Hur. 
Ronald bet that May 
would come back at 
least ten pounds 
heavier; May swears 
she wont add one 
ounce to her ninety- 
six pounds. George 
Fitzmaurice, the di- 
rector, has agreed to 
hold the stakes for 
the winner 



31 P 

PAGli 



_ ,, 



i n i ■< i=sas 




I 



Henry Waxman 

THERE are so many cross-roads in the average 
person's existence without any sign-posts to point 
the right direction, it's a wonder we dont lose our 
way oftener. If I had taken a different turning 
at half a dozen points, I might now be a London cabby 
(probably with a red nose; cabbies always have red 
noses!) ; an office man in Cheapside (in a pepper-and-salt 
suit) ; an army officer billeted in a flea-bitten mud town in 
the Sudan, or a civil service employee in China, wearing 
an embroidered satin robe and sitting at a teakwood desk 
(if I hadn't already been killed in a revolution). 
32 

as. 



Trie Ston? 

of 
My 1 Life 

We give you herewith the true story of an 
Englishman and a scholar, a veteran of the 
World War, and a man of a thousand adven- 
tures, who hopes for another thousand of them 

By 




My cabby complex dates back to the age of five, when 
my mother used to take me up to London and would 
allow me to crook a finger at one of those proud beings 
perched up so gloriously high above the common run of 
mankind behind his cab. They were usually stout, and 
looked so top-heavy that I always expected to see the 
horse leave the ground at any moment and dangle in the 
air. Once inside the cab, my mother would allow me 
to poke up the trap-door in the top (with the umbrella 
that all Britishers carry) and discuss our destination 
with a beery voice rumbling out of sight above our 
heads. And it seemed to me then that no career could 
possibly equal that of driver of a hansom. 

Here is a queer thing. From the first I can remem- 
ber I seem to have been traveling toward California. 
Even in those days it was the best advertised spot in 
the world and, from the glowing adjectives describing 
it in articles and travel-folders, the word "golden" 
stuck in my childish mind. Then "the Pacific" ! • How 
different that would look from the cold, gray Atlantic 
I knew! In imagination I saw California as a fabled 
land with towers shining in some strange sun by the 
shores of a fairy-tale sea. I made up my mind then 
that some day I would come to golden California. And 
here I am ! 

"K/Tv childhood home was a big, brick, suburban villa 
■** A on the banks of the river, at Richmond-on- 
Thames (printer, dont omit the hyphens !). Father was 
an importer in the city and comfortably well-to-do — we 
had dogs, riding horses and a trap. 

My recollections of the house are very vague.— 
houses to a child are simply places to eat and sleep in — - 
tho I have a scar just above one eyebrow to prove that 
this particular house had a long, steep flight of stairs 
to fall down. The thing I associate with being a child 
is the river — the deep, slow-moving Thames. English 
people enjoy their rivers more than Americans, or per- 
haps American rivers are not leisurely and deep and placid 
like ours, but in a hurry to get somewhere in the world. 
On Sundays and bank holidays the Thames is always cov- 
ered all the way from London to Oxford with canoes, 
sculls, flat-bottomed boats of excursionists, gay with 
striped blazers and parasols. 

I used to punt fourteen miles up the river and never 
found a spot where the water was not deeper than my 
twelve-feet pole. 

Tho I was born in England, my people are Scottish 




Those of us who have seen Lillian Gish as the exquisite Romola will never forget her. And we count the fans 

of 2025 fortunate to glimpse her in marble 



For trie Picture Fans 
of 2025 





Colleen Moore, 
as Selina Peake, 
t Ii e young 
school-teacher, 
in So Big 



Colleen, as 
Selina De Jong, 
the bright-eyed, 
wonderful old 
mother 



The marble study 
of Lillian Gish at 
the top of the 
page was made by 
the well-known 
sculptor, Elob 
Dereyinsky, in his 
New York Studio, 
and was on exhibi- 
tion in a metro- 
politan gallery 
during the winter 



At the left you see 
Douglas Tilde 11 
immortalizing, in 
bronze, Colleen 
Moore as the 
heroine-g r o w n - old 
i - i So Big. This 
young star's por- 
trayal of youth 
and old age has 
not been surpassed 
on the screen 

35 

PAG 



t 





ences 



Off-S 



creen 



Tea for Two, and Tea for a Crowd 



! 



THERE is a special charm in meeting a star, like 
lovely Norma Shearer, shortly after she has 
arrived in a big way. The first glamour of suc- 
cess has not worn off, for her. She glitters with 
enthusiasm for everything connected with stardom — 
even for being interviewed. I dont mean to • 
imply that publicity is scorned by older 

luminaries. But the latter- Oh, well, 

theyVe done it. so often before, you 
know ! I dont blame them for 
finding it hard sometimes to think 
up something new to say. 

Miss Shearer is fresh from 
her triumphs in He Who Gets 
Slapped, The Snob, and one 
or two other corking pic- 
tures. I've been teaing 
with her in quest of con- 
fidences for this page, 
and she's given me the 
nice, flattering feeling 
that she had as good a 
time talking to me as I 
did in the role of in- 
terviewer. 

In writing about 
Miss Shearer, I dis- 
cover that I simply 
must begin by telling 
what she looks like. 
The black-and-white of 
the screen does justice 
to her features and her 
fine aristocratic presence. 
But in the flesh she makes 
one long for the perfecting 
of color photography. Her . 
golden hair is burnished with 
tints of red, and her skin has 
that brilliancy of pink and white 
which can only be acquired by a 
childhood spent in the far North. 
She is a Montreal snowbird of British 
descent, which is explanation enough. 
"I can never forget how I broke into 
pictures in the first place," she told me, 
her eyes dancing. "I'd come to New 
York with my sister, and both of us were 
vowed to the program of the movies or nothing. We 
lived thru some black days, for there was jolly little 
money in the war chest. We had no pull. We were 
green. No aspirants on record knew less about what to 
do, or how to do it. Then, in a cheap agency, I was 
chosen as a type, and my sister was engaged, too, be- 
cause I wouldn't go without her. 

"We were to report at a studio in Mount Vernon, 
N. Y., a town I haven't been able to think of since 
without extremely mixed feelings. Up till then, we had 
never been in a studio and had only the vaguest notion 
of what one looked like. The uncivilized hour of seven 
A. M. had been mentioned as the time when work would 
36 
GE 




Fame is smilin 

aristocratic Norma Shearer 



start the next day. so we planned to take a six-thirty 
train, and in our anxiety we made Grand Central Station 
with half an hour to spare. 

"The 'studio' turned out to be some sort of barn, thru 
the chinks in which the wind and snow careered at 
will. Nothing was ready, and for twelve 
mortal hours we sat in a corner, two 
shivering creatures who were beneath 
the attention of the director. Our 
spirits sank to the point where we 
confessed to each other that if 
we were being treated to a fair 
sample of movie life, we'd 
rather die quickly and be 
done with it. However, we 
returned the next day, and 
the picture was really 
started, and we really 
had parts in it." 
"What was the name 
of it ?" I asked. 
"Hush !" wh i s>pe red 
Miss Shearer. "That's 
a secret I've always 
kept. I've been told 
the picture was never 
shown, but it may 
have been somewhere, 
and I know I was 
terrible iti it." 
Our chat brought out. 
so many fascinating 
things about Norma 
Shearer that I could 
easily fill the whole 
Department with her. She 
is musical, plays and sings 
well, yet thanks her good fairy 
that she failed to study danc- 
ing. This last because a famous 
Broadway producer once tempted 
her when she was broke to abandon 
pictures and join his Follies, and had 
her dancing been adequate she would 
have lacked. the courage to say No. As 

now for lovely, ; t was _ she knew she cou \ c \ not get ver y 

far in revue work, so stuck it out at the 
art she loved best. Her sister, however, 
let marriage and babies lure her from the screen. 

What Does a Villain Like ? 

"V/fv friend. Walter Haviland, calls Wallace Beery "the 
*~ •*• king of villains" on the screen. Well, he's that, all 
right. There is no heavy who seriously rivals him. But 
I want to give you a glimpse at his personality off-screen. 
I had a chat with him not long ago at Famous Players' 
studio, and we rode back to New York in a taxi just as 
the winter evening was setting in and the sky-scrapers 
from across the river were like the massed towers of a 
stupendous castle, a light in every window. 

Y\ "hat do you suppose a "villain" burly enough to fill 



CR-MmON PICTURl 

ItiBl I MAGAZINE 



two-thirds of the taxi would be. moved to say? 

Beery told me about the people and the things he 
liked. He revealed an unexpected streak of poetry, 
and an attitude toward motion pictures and his 
place in them that was altogether modest. 

"I'm a real Westerner," he said, '"and I've been 
sightseeing in my spare time here. I got a big kick 
out of the Woolworth Building. It's beautiful, and 
what a view of the city you get from the top floor 
— my Lord, what a view! It struck me all of a 
heap that I didn't know the name of the architect 
who'd done such a wonderful thing. So I asked 
other people, and I couldn't find a soul who knew. 
It seemed that my own name was better known than 
that of the man who built the Woolworth, and let 
me tell you that's a shame !" 

He went on to speak of his love for mountains 
and forests. He is stirred by Nature in her larger 
aspects, and nothing delights him so much as to 
break away for a holiday in the Sierras of Cali- 
fornia after a picture has been completed. He is 
gone weeks at a time, hunting and fishing, and 
sleeping under the stars. 

He carries this passion with him into the theater. 
His favorite numbers on a program are the travelog 
and the "news of the day." He has voyaged a good 
bit himself, but never tires of the panorama of strange 
lands — those he has seen as well as those he has not — 
unfolded in the shadowland of films. 

Discussing his dramatic colleagues, however, he paid 
a most glowing tribute to Charlie Chaplin, whom he 
called the supreme genius of the cinema — perhaps the 
greatest comedian that either the speaking or the silent 
stage has ever known: He insisted generously, also, that 
his brother, Noah, was a better actor than he was. With 
this last judgment I do not agree. But if Wallace Beery 
says so, it's only fair to quote him. 

The Denaturing of Greed 

"pRic von Stroheim, one of the few really gifted 
*~* directors, spent years on his film version of Frank 
Norris's McTcaguc. The novel was a rare masterpiece 
of realism in American literature. It might have been 
written to order for von Stroheim. and from the start 
it was known that he intended to make a grim, a brutal. 




There's a streak of poetry in Beery. He likes 
and the Woolworth Building 



rild flowers — 



and their 




picture. The country was effectively flooded with pub- 
licity to this effect. The fans were prepared to see "some- 
thing different," to have cold shivers run down their 
spines. 

Under the title of Greed, the picture has at last reached 
the screen. It proves to be excellent melodrama — what 
there is left of it. To reduce it to program length, it had 
to be cut, you know, from forty-four reels to eleven reels. 
The province of this department is not to review new 
productions. But writing as a spectator, I want to go 
on record as being disappointed at finding that so much 
that was original and strong has been left out. in favor 
of milder stuff. I have looked over hundreds of von 
Stroheim's stills. One of the latter, from an episode no 
longer in Creed. I offer mv readers as an exhibit. It 
shows the Russian junk dealer, and Maria Macapa, the 
strange, half-crazy woman, who did odd jobs for 
McTeague. These two shared some of the best scenes, 
fate marched relentlessly to a climax that 
would have ranked high among the artistic 
performances of the screen. Why should 
the cutters have butchered it? 

On the other hand, the long, sentimental 
prolog is retained. Many feet of film are 
given to the grief of McTeague's mother at 
parting. from him when he was a youngster. 
Hundreds more are taken up by symbolistic 
interludes, in which ghostly arms toy with 
treasure under the sea and burrow into piles 
of bills and coin. 

The business men who owned the picture 
were probably scared at the length to which 
von Stroheim had gone, and decided to have 
it denatured — volsteaded — what you will. I 
think they made a mistake. For the public 
expected a gruesome show, and Greed is no 
longer that. That it remains a splendid 
thriller in spite of all is due to the talents of 
its director, who is incapable of shooting a 
single reel that is not interesting. 

When Constance Gives a Tea 



The Russian and Maria Macapa plan their hunt for treasure, 
suppressed scene from Greed 



As readers must have gathered, many of 

■*■■*- my most illuminating chats take place 

over the tea-cups. From four to six P, M. 

{Continued on page 98) 

37 
PAfi 



t 




How Our Readers 
See the Stars 

Here is another page of the best sketches 

received from readers in response to our 

Artists Contest 




LILLIAN 

GISH 



Sketched by 

Katharine Huston. Berkeley, California 



Sketched by 
Roger 11. IVesicnnan 

Fan's, France 




RUDOLPH 
VALENTINO 



Sketched by 

Howard Kakudo 

South Seattle, JVash. 





GLORIA 
SWANSON 

Sketched by 
Donald McCnrdy 

Halifax, Nova Scotia 



MAE 
MURRAY 



Sketched by 

Marjorie Zander 

Los Angeles, California 



- — S^^Kf^ 



I 



BERT LYTELL 

Sketched by 

M. Fried/under 

San Francisco, California 




38 



JACK 
UEMPSEY 

Sketched by 

Funis Jepeuiay 

Dublin, Co. 



MMBH 




Here is Lillian Gish 
as Flora Smith, of Los 
Angeles, sees her. 
This sketch was 
awarded the ten-dollar 
prize 




RICHARD BARTHELMESS 

Sketched by 

Richard A. Larson 

New York City 



. 




Aren't you going to give me something el>e before I jio, Professor? A kiss, for instance? 

Learning To Love 

This picture was made from an original story hy John Emerson and .-Inita Loos, and was directed by Sidney A. Franklin. It is 
copyrighted by First National Pictures, Inc., who also authorized this short novelisation 

BS GORDON MALHERBE HILLMAKf 



THE young history teacher was embarrassed. This 
was strange, for he usually regarded the bobbed 
hair and rolled stockings of his pupils in Miss 
Benchley's School for Girls with a cold and 
clammy eye. Somehow, when he looked at Pat Stanhope's 
long lashes and mischievous mouth, all his coldness 
vanished. 

"I — er — er, Miss Stanhope, as it is the last day of 
school, allow me to present you with this little token of 
my er — er regard." 

Pat dimpled and put the bulky volume of Plutarch's 
Lives under her 'arm. "But, Professor, aren't you going 
to give me anything else before I go away?" 

Professor Bonnard started back in surprise. "Why — 
er— I " 

"A kiss, for instance," whispered Pat saucily, her eyes 
shining, her lips deliciously close. -"Just for good-by, you 
know." 

The Professor's technique left something to be desired. 
By mistake, he kissed her nose. 



"Pat ! Pat !" called her chum, Sylvia, from the hall 
"Aren't you ever coming?" 

Pat came running. She knew by the tone of her chum's 
voice that something special was in the wind. 

"Pat," said Sylvia, "this is Billy Carmichael. He's 
come up for the prom and he's wild to meet you." 

Pat turned approving eyes on the dark boy with re- 
bellious hair. "Oh, Mr. Carmichael, isn't it splendid?" 
she cooed. "I've heard so much about you," 

Billy was lost in an instant. In ten minutes he was 
telling Pat that altho he usually hated prep-school girls, 
she was different. That night an accommodating, roly- 
poly moon looked down to see Billy putting the finishing 
touches on what the Professor had begun. By long 
experience Billy was something of an expert. 

But in some things he was still an amateur. As, for 
instance, his sending Pat's aunts, Penelope and Virginia, 
a note announcing that, as he was now engaged to their 
niece, he would save them the trouble of coming to get 
her by bringing her back in his car. 

39 
PAG 



i 



J* 



"xMOTION PICTURE 
W I MAGA2INL L 



Which, of 
Benchley's in 

overwhelmed 




! 



course, brouglit Aunt Penelope to Miss 
high agitation. The love-smitten Billy was 
by the idea of separation from his best- 
beloved, but Pat solemnly promised to see him in New 
York, so there was some joy in life after all. 

But no sooner had Pat got settled in the 
train than she beheld a most enchanting 
sight. This was a splendid youth, 
something of a baby elephant as 
to size, but handsome none 
the less, who was sitting 
directly across from her, 
speaking in words of 
one syllable to Ethel, 
one of her school- 
mates. 

Ethel signalled 
unmistakably. 
"Pat, take this 
big dumb-bell 
off my hands," 
and Pat, who 
was beginning to 
be bored, crossed 
over to them at 
once. 

"Miss Stanhope, 
Mr. Tom Morton." 

Mr. Tom Morton wl mm J& 

lifted a pair of cowlike 
,eyes to appraise Miss 
Stanhope. Once fixed, his 
eyes remained riveted. What 
he lacked in brains he made up in 
adoration. By the time the train 

slid into Grand Central, he was will- Pat ' s i 00 k sent Billy's blood-pressure 
ing to be Pat's personal doormat for sky-rocketing 

life. 

"Now, remember," said he, "I'm taking you to Sherry's 
tomorrow." 

"Yes, Tom," said Pat, giving him a sidelong look that 
sent his blood-pressure skyrocketing, "but you must go 
with me to see Mr. Warner first." 

Tom was suspicious. "Who's this Warner egg, any- 
way?" he demanded. 

"Oh, now, Little Boy's jealous of Old Man!" she 
mocked. "Scott Warner's my guardian, silly. He looks 
after all my money — and he's an old, dried-up Babbitt of 
a business man." 

But the next day when Pat entered Scott Warner's 
office, leaving a disconsolate Tom outside, she received a 
first-class surprise. Scott was not so old as she had 
remembered him ; he was not only distinctly young — but 
actually handsome. 

As she waited for him to finish his dictation, she care- 
fully moved her chair nearer and nearer his desk, so that 
the astounded Scott, suddenly looking up, found her eyes 
sparkling into his. 

But this time, Pat had met her match. Scott merely 
leaned back in his chair and 
asked, "What's all this 
about your engagement to 
this Carmichael kid ?" 

Pat dimpled in her most 
entrancing manner. "Oh, 
I suppose we're sort of en- 
gaged, but that doesn't 
really mean anything." 

Scott brought his eyes 
back from a dreamy con- 
templation of the ceiling to 
say "No?" in a bored voice. 
40 



CAST OF CHARACTERS 

Patricia Stanhope Consumer Tahnadge 

Scott Warner Antonio Moreno 

Aunt Virginia Emily Fitzroy 

. \ unt Penelope Ed y I he Chapman 

Billy Carmichael Johnny Harron 

Tom Morton ' Ray Hallor 

Professor Ponnard Wallace MacDonald 

John, the Barber Alf. Goulding 

Count Coo-Coo Byron Munson 

The Butler Edgar Morton 



"Oh, my, no ! It's always happening to "me. Being 
engaged, 1 mean." 

Scott suddenly became less amiable. "Look here, if 

you're going to marry, why dont you pick a real man 

instead of these college kids?" He raised his eyebrows 

quizzically. "Provided, of course, that any real 

man would look at you twice. I doubt if 

he would." 

"Why," spluttered the open- 
mouthed Pat, "I think you're 
terrible !" 

I dare say," said Scott 
calmly. "I've told you 
the truth, anyway. 
Run along now and 
dont bother your 
aunts with any 
more 'engage- 
ments.' " 
Whereupon the 
enraged Pat fell 
upon her adoring 
admirer. 
"Stupid !" she ac- 
cused. "Why do 
you have to be so 
dumb ?" 

Mr. Tom Morton 
opened his mouth 
three times and then 
shut it. Things were 
getting too deep for him. 
They rapidly became worse. 
When they arrived at the Stan- 
hope house, he was not at all pleased 
to- find, waiting for Pat and glaring 
at each other, Billy Carmichael and 
Prince Victor de Amalfi. 
"Hello, Billy. Hello, Coo-Coo," sang out Pat. tripping 
up-stairs. "You'll have to wait in the drawing-room, 
boys. My hair-dresser's here, and he's the nicest man !" 
So when Scott, coming on important and unexpected 
business, arrived, he found three gloomy youths full of 
murderous thoughts. 

"Miss Patricia will see you in half an hour." announced 
the maid who had taken his card. "She's with her hair- 
dresser." 

But the maid bore back word to Pat that Mr. Warner 

refused to wait on any account. "Tell him to go " 

ordered Pat angrily. "No. Tell him I'll be right down!" 
Sure enough, clown she came, alluring enough to attract 
anyone. But Scott seemed made of stone. 

"You'll have to sign this paper," he said brusquely. 
"It means that, hereafter, your income will be in your own 
hands, but I'll have to O. K. all your expenditures." 
"I wont sign any such thing!" Pat declared angrily. 
Scott shrugged his shoulders. "All right. There'll be 
no money then." 

Pat's eyes snapped. "Give me your old paper ! There !" 

As she signed her name 
in a savage scowl. Scott 
peered into the next room 
where the assembled swains 
were more' or less patiently 
waiting. 

"Nice lot of men you 
have," he commented sar- 
castically. 

Pat slapped the paper 
down in front of him. "If 
you dont like them, sup- 
pose you introduce me to 



some others," she said venomously. "I dare you to !" 

"Delighted," said Scott in an aggravating drawl. "Dine 
with me next Thursday night." 

True to his word, Scott gave his dinner. It was a 
brilliant affair, and he had been at pains to invite many 
men of social prominence. He put Pat next to Mr. 
Moore, a typical frequenter of the more fashionable 
Broadway cabarets. As Scott occupied his time in con- 
versation with the lady on his left, Pat turned her bat- 
teries loose upon Mr. Moore. So well did she succeed in 
enslaving him that immediately after dinner he guided 
her to the conservatory. As a mere matter of course, Pat 
let him kiss her, and then things began to happen. For 
once she found she had caught a Tartar. 

"No — no !" she cried, trying to escape from his passion- 
ate embrace. 

Opportunely, Scott stepped in the door. "Hot in here, 
isn't it?" he said drily. "So sorry you have to leave us, 
Moore." 

Slightly ruffled, Mr. Moore rose, bowed and made his 
departure. 

"Oh, Scott," said Pat, clinging to her guardian, "it was 
awful ! Drive me thru the park for some air." 

Once in the park, Pat rapidly recovered from her fright. 
"I'm cold," she said prettily, and cuddled closer to Scott. 

He leaned forward to the speaking tube. "Oh. Jenkins, 
turn on the heat. The lady is cold." 

Then, adding insult to injury, he wrapped 
her in a rug and settled himself in 
the opposite corner. 

"Beast !" thought 
Pat, but she said 
as she stepped 
out at her house : 
"Aren't you go- 
ing to kiss me 
goo d-n i g h t, 
Scott ?" 

"Certai nly 
not !" he said, 
and slammed the 
door. He 
slammed it un- 
necessarily hard. 
It would have 
seemed to an un- 
prejudiced ob- 
server that Scott 
Warner wanted 
that kiss badly. 

Then came 
the night of 
Pat's debut. All 
her suitors were 
present. Even 
Scott came. 
With the first 
dance, her 
troubles began. 

"I've been 
planning a 
honeymoon for 
you and me on 
the Mediterra- 
n e a n," w h i s- 
pered the Prince 
as the jazz-band moaned out a fox-trot. 

"Oh !" gasped Pat, and just then Tom Morton cut in 
and swung her away, leaving the Prince standing in 
the middle of the floor with a slightly acid smile on his 
face. 

"Here!" whispered Morton, thrusting a ring on her 



OTION PICTURI7 

MAGAZINE t\ 



will steal you away from V 




'Who gave you that ring?" demanded Billy, still alive and slightly more sober 



finger. "I'm afraid someone 
me. No, dont take it off." 
Pat hesitated. 

"Keep it on !" ordered Morton fiercely. "It means 
' we're engaged." 

But the worst had not yet happened. At the end of the 
dance, the Prince again claimed Pat and led her into the 
conservatory. With an air of great triumph he laid an 
evening paper on her lap. One hasty glance convinced her 
of the awful truth. There in black type was the announce- 
ment of her engagement to the Prince. 

"Fast work, eh, as you Americans would say," smirked 
the Prince, twisting his little mustache. "Dont you like 
it?" 

"Of course, I dont !" Pat blazed. 

Just then the Prince saw Morton's ill-fated ring on her 
finger. "What man gave you that?" he demanded. 
"Whoever he is, I'll kill him !" 

Pat's brain reeled. It didn't seem possible for so many 
unpleasant things to happen at once. 

So, of course, another batch of trouble came tapping on 
the door. "Telephone, Miss Patricia," said the maid, dis- 
approvingly. "It's Mr. Carmichael, and he's so mad he's 
shouting his lungs off." 

Billy was not merely angry ; he was also slightly the 
worse for drink and he sounded like a fog-horn. "What's 
this about your marrying the Prince?" he roared. 

"It isn't true. You know it isn't!" pleaded 
Patricia. 

'I dont believe you. You're 

double-crossing me. I'm 

up at Warner's 

apartment, and 

I'm going to 

shoot myself." 

The receiver 
went down with 
a crash. 

In two min- 
utes she was in 
Scott's racing 
car. Traffic rules 
went into the 
discard as they 
whirled about 
the deserted 
streets. But 
when they 
reached Scott's 
apartment, Billy 
was alive and 
more sober. 

"Who gave 
you that ring, 
then ?" he de- 
manded, break- 
ing in on Patri- 
cia's denials. 

"Tom Mor- 
ton." 

"Well, you're 
going home, and 
you're going to 
give Tom Mor- 
ton his old ring 
back." 
"All right," broke in Scott, whose temper was becom- 
ing ruffled. "You kids clear out and settle it for your- 
selves. I'm staying here. Pat can run her own private 
mad-house." 

As Billy and Pat bowled along in a taxi, he announced, 
{Continued on page 86) 

41 
PAS 



t 




"This B 



usmess 



( Jeorge Edward Dewey 



gate in an organdie 



I 



"TT^vO you enjoy being a vamp in pictures. Miss 
I Naldi?" . . . or, "Would you rather be an in 
genue, and swing on the 
frock?" "Dont you get fed up with vamping?' 

These are just a few of the questions fired at me- from 
time to time. The answer to the first is, "Yes." To the 
other two, "No." A picture vamp is often painted in 
mighty black colors on the screen, but there has to be 
someone darkly wicked to make the ingenue seem sweet 
and pure. I dont mind. I never considered before why 
not, but when the question was asked, various reasons 
sprung to the rescue. 

Consider what goes to make a screen vamp. You never 
heard of a blonde vamp, did you ? No, the screen vamp 
is a brunette, preferably with Latin blood flowing in her 
veins. The Latin type is a flaming contrast to any other. 
It is her inheritance — the warm-eyed woman, with her 
passionate response to moods, her sophistication, her 
sparkling, yet subtle, appeal to the opposite sex. That is 
her inheritance from the climate in which she and her 
ancestors were reared. 

The women of Egypt and Asia Minor are funda- 
mentally vamps. One of the earliest vamps recorded in 
history is Esther, of Biblical fame. Her burning influ- 
ence over the king raised the Jews from abject misery 
into power again. A poor girl, unnoticed among thou- 
sands of others, she was espied by the king one day. He 
ordered her brought to his palace. What happened ? 
Esther's ravishing appeal raised him from the common- 
place to such dizzy heights that he said to her" "Ask and 
ye shall receive, even unto the half of my kingdom." 

Look at Sappho, a Greek lyric poetess of Lesbos, 
whose immortal love poems have come down to us from 
the seventh century B. C. — poems in which she sings of 
ler amours. There is Cleopatra, whose vamping ways 
42 

ee. 



of 



"I like being a vampire. A vamp 
is an asset to society and not a 
liability ; she is society's negative 
lesson. "Dont do as I do,' she 
says, 'do as I dont ' 

41 

By 
N1TA NALDI 



nearly put a crimp in the Roman Empire when she 
threw the glamour of her dazzling personality and 
beauty over Mark Antony. 

A vamp is an asset to society and not a liability. 
She personifies the greatest romantic and moral lesson 
that can be taught. There has been much written 
about why some players do not like being vampires on 
the screen. Well, frankly, I like being one. 

/^ne of my happiest roles was that of the vamp in 
^-* Valentino's picture, Blood and Sand. There was 
a woman for you! Cruel, yes, in her utter love of 
self and disdain for others. But she was honest in 
her own way and honesty, even when it isn't to be 
emulated, can be admired. 

As the vamp in Valentino's other picture, A Sainted 
Devil, I was very happy. It was a splendid part, yes, and 
I played with Rudy again who. in my opinion, is one of 
the great actors in pictures. The woman I portrayed in 
this production is as devoid of scruples as a fence is of 
speech. She deliberately sets out to win the man to whom 
she has taken a fancy, regardless of the fact that she may 
ruin his life. 

To get him, I vamp the desperado leader of a bandit 
crew. He is so infatuated that he promises to do any- 
thing I ask. I order him to kidnap the girl Valentino is 
to marry. He does, capturing her after her wedding. 
Valentino gives chase. In the meantime, I adorn myself 
in the bride's clothes, and he arrives to see her who 
he believes his wife in the bandit's arms. 

Disillusioned by what he thinks he has seen, he rides 
away, vowing he is thru with all women. Having got 
everything I could from the bandit chief, I leave him, 
and devote myself to infatuating Valentino. In the end, 
of course, he learns of my perfidy and returns to the girl, 
leaving me a woman scorned. You know. . . . 

Now, if there isn't a lesson in this, I dont know where 
there could be a lesson, especially as I suffer the conse- 
quences of my love-lawless deeds. The law of com- 
pensation plods to the certain ruin of the vamp, provided 
she doesn't reform, which, in a picture, she most assuredly 
cannot do. So again I say, a vampire is an asset and not 
a liability to society. 



~C very woman is potentially a vampire. In an impulsive 
*~* moment, weary of the monotony of her life, she may 
decide to take a fling at something different, and this fling 
may ruin her life. 

Now suppose such a reckless woman dropped in to see 
a movie, in which there was a character in just her 
{Continued on page 100) 



Being a Vampire" 



"I hate the term Vampire — it is 
contemptuous. Ana I do not like 
to play vampire roles ; I do not 
believe that there is such a woman, 
or that there ever has been 



By 
BARBARA LA MARR 



'TNU you like to play vampire roles?" 

I This question has been asked me at least 
fifty times a clay for the last two years and 
a half — ever since I have been- in pictures. 

It is a queer question to be asked to dwell upon, 
yet repetition eventually brings concentration. And I 
have decided to give the world my answer to this 
Question, once and for all. 

Do I like to play vampire roles ? 

No ! Most emphatically I do not. 

Personally, I do not believe there is such a woman 
Is a "vamp" ... or that there ever has been. 

In the final analysis, what is a vampire? 

Cleopatra is pointed to as the perfect vampire. 
And yet, was she? She was a woman who combined 
sex appeal with a masculine mind and an independent 
spirit. 

Sex appeal is that indefinable, magnetic something that 
attracts the opposite sex. A masculine mind is one that 
thinks clearly, decisively, and acts accordingly. An- inde- 
pendent spirit rounds out this triumvirate of qualities. 

Cleopatra had all three. But why has she flamed thru 
history as the perfect vamp? Because historians have 
glossed over her executive reign of Egypt to tell of her 
love affairs, and with each rewriting of these affairs, 
embroidered them a little more. So eventually she has 
come to be visualized as a woman who played with men, 
gloried in her power over them, and died a death in 
keeping with her scruples, or lack of them. 

Is it not so? 

"p very woman is at heart a Cleopatra. Every woman 
has sex appeal, to a greater or lesser extent. Every 
woman, consciously or subconsciously, believes herself the 
cynosure of masculine eyes ; the pursued, rather than the 
pursuer. 

This is as natural as the dawn of a day. It is as in- 
stinctive as hunger. During the early days of civilization, 
woman's social position was precarious to the extreme. 
She feared being captured by an unfriendly, wandering 
tribe. There are even many instances of her actually 
being compelled to live in a cage for years, until her 
people were ready to sell or exchange her in marriage. 

Traditionally, therefore, woman's instincts include that 
of being pursued. Imagination and reason are kindred. 
Hence, women not pursued — or, in other words, not 
popular — still cherish the thought that they are. 

On the other hand, there are women who, thru no 
effort of their own, have that elusive something called 
sex appeal. If such women go into motion pictures, they 
are cast for the role of vampire. The ingenue's sweetheart 




becomes enamored of her thruout three-fourths of the 
picture — in love with her. a woman with calloused heart 
and selfish desires. She's a vampire, you see ! 

Again the flashback to Cleopatra. Why. that woman 
in the picture is something of a modern edition of the 
Egyptian queen. Pshaw, she is just a vampire ! And so 
the very word vampire has been standardized. 

To me she is not a vampire. The term is contemptuous. 
In the animal world, a vampire is a treacherous creature 
that destroys other creatures at night. Does it not seem 
mentally incompetent to characterize a woman like Cleo- 
patra, or any woman with sex appeal, a masculine mind 
and an independent spirit, in such a way ? 

Personally, I am interested in this type only in so far as 
she represents life. In motion pictures, however, she has 
come to stand for not only the "other woman" but also 
for a sort of fashionable "clothes-horse." 

She adorns herself in bizarre gowns. She narrows her 
eyes at the sight of a man. (That is calculation!) She 
bends forward slightly after this. (That indicates ap- 
proval.) Finallv, thru a mutual friend, she meets the 
man. She gazes at him slumberously as he holds her 
hand, and smiles slowly, with a display of white teeth. 
( He capitulates to her charm ! ) 

That is the vampire in motion pictures! 

Isn't she a fearful bore, this "clothes-horse" woman, 
this denatured conception of a Cleopatra? 

' I 'here is such a thing as a happy medium. Clothes 
-*■ should color personality, not subdue it. If the time 
ever comes when clothes rather than her own histrionic 
merits make an actress popular, then her day is short- 
lived. There are models to be procured for "clothes- 
horsing." 

In my last picture. Sandra, Miss Claire West, one of 
(Continued on page 100) 

43 
PAG 



i 




Pieces of Hate 



I 



HATE good-looking men 
Almost as much 
As I detest 
Good-looking women. 



! 



I am quite fed up 
On pulchritude. 



"p very shop-girl 

■*-' In Hollywood 

Looks like 

A Ziegfeld graduate. 

The postman has 

A classic profile. 

You pay your bus fare 

To 

A handsome conductor. 

A Sheik with curly hair 

Collects 

Your garbage. 

The waitress 

At Ptomaine Tommy's 

Won 

A Beauty Contest 

In Oskaloosa, Iowa. 

The Blonde behind the cash register 

Was 

Miss Kansas 

In a Bathing Girl Parade. 

44 



Circulated 

Against 

the 

Handsome Men 

and the 

Beautiful Women 

of 

Hollywood 

by 

SAXON CONE 



T am tired of 
*■■ Greek Model noses 
And slicked pompadours, 
Cupid's bow mouths 
And long eyelashes, 
Men that look like 
Novarro 
(Or try to), 
Girls that imitate 
Corinne Griffith, 
Swanson bobs, 
Valentino eyes, 
Pickford blondes, 
Negri brunettes. 



HPhere are ten thousand 
■■• Extras 
In Hollywood, 
All of them good-looking 

They were earning 
An honest living 
Massaging typewriter keys. 
Weighing out prunes, 
Keeping house, 
Farming — 

Until somebody noticed that 
They looked exactly like 
Barbara La Marr 



OTION PICTUR! 

MAGAZIME 



Or Ronald Colman — 

After that there was nothing left 

But to hunt up trains 

To Hollywood 

Except perhaps 

The matter of raising the fare 

To Hollywood. 

Ten thousand extras 

In Hollywood, 

All of therri beautiful ! 

I am awfully tired 

Of good-looking people ! 



'"Phey talk about 
•*■ Girls having to 
Pay the Price : 
The only price most of them 
Are asked to pay is 
To the Landlady 
And the Laundryman. 

The studios all say the same thing 

"We aren't casting any stars today ,' : 

So the budding Blanche Sweets 

And the near-Naldis 

And the Boy-Wonders 

Who can wiggle their eyebrows 

Like Menjou 

.Answer the ads 

"Wanted Waitresses" or 

"Gentlemanly Young Men 

To Sell Lots in Cactus Crest." 

Girls who came out 

To be Bathing Beauties 

Find the nearest they 

Can get to water 

Is a job washing dishes — 

Boys who longed 

To play Leading Man 

Have to be satisfied 

Leading a lawn-mower around. 

That's how it .happens that 

Hollywood 

Is simply infested with beauty. 



Tn Milwaukee 

"■■ . Or Kalamazoo 

Or Liverpool, England, 

Passers-by will turn to stare after 



On the 

Opposite Page 

ELDON KELLEY 

Gives You 

An Opportunity 

To Observe 

HollywoocTs 

Comely Clerks 

and 

Grand Gardeners 

and 

Winsome Waitresses 

and 

Darling Dishwashers 

and 

Pulchntudinous Postmen 

and 

Gorgeous Garbage 

Collectors 

and 

Simply Stunning 

Stenographers 



A good-looking person 
But not in Hollywood — 

Apollo couldn't get past 
Any studio gateman — 
Venus would be unnoticed 
Among the crowds on the boulevard. 

Every other shop 

Is a Beauty Parlor 

Or the office of a Facial Wizard 

Who will bob your nose, 

Make your eyes bigger, 

Put a dimple into your chin 

And a crimp into your pocketbook. 

I've got the Beauty Contest Blues. 



Tf I ever met a girl 

■*■ With freckles and a pug nose 

On the Boulevard 

1 would utter a cry of joy ! 

If I ever met a man 

With buck teeth 

And an Adam's-apple, 

I would fall in love with him 

At first sight ! 

But I never shall 

Anyway not in Hollywood 

Where we have Sheiks 

For milkmen 

And Vamps 

For schoolma'ams 

And you cant tell a movie star 

From an honest citizen — 

Gosh ! I hate 

Good-looking women 

Almost as much as I detest 

Good-looking men ! 



1 could write more 
Only 
I've got an appointment 
At Madame Helen's 
Beauty Emporium — 
My dear, it's simply 
Wonderful 
What she can do 
For you ! 



I 



If I ever met a man with buck teeth and an Adam's 
apple, I would fall in love with him at first sight! 





Helen Lowell and Carol Dempster as Polish War refugees 

ISNT LIFE WONDERFUL 

The Best Drama 

HERE we have D. W. Griffith in a mellow mood, 
relating with all his eloquence for sentiment and 
his resourcefulness for emotional effect, the tale of 
two young lovers who plight their troth and work out 
their happiness in a pathetic welter of poverty and hunger. 
For this is the story of Inga and Hans, Polish 
refugees in a little German village where famine 
and death performed their grim ritual in the days 
following the war. Against this moving pano- 
rama of distress, these two play their lover roles 
in an aura of sunshine and beauty. 

If we think of Griffith speaking instead of pic- 
turizing the play, we hear a sonorous, deliberate 
reading of the lines in a voice which grows vibrant 
in the recital of the love passages, rich and im- 
pressive in describing the plight of these starving 
people, and consciously unctuous in his little 
asides for the sake of comedy relief. At times 
he prates. But always he is effective in exciting 
the tender emotions. He does not keep the lump 
in your throat all the time, but it never gets far 
back, and when he does command it, the response 
is so ready that you are actually grateful and 
really enjoy his patronizing comedy relief. 

The element which will decide the question 
Will Hans marry Inga? is a crop of potatoes. 
If successfully harvested, the lovers win. The 
climax, therefore, shows them trying to wheel 
home their potatoes whilst a mob of hunger-mad 

{Continued on page 106) 
46 



The Winners 



Selected and Reviewed 



GREED 

The Best Melodrama 

NOTHING that was grim or gruesome has been lost 
in the transition of McTcague from the graphic 
pages of the Frank Xorris novel to the motion- 
picture screen, which this brutally candid story reaches 
under the title of Creed. Eric von Stroheim has been 
assiduously at the task of making die play as uncompro- 
mising as the novel, and the fruit of his labor- is a grimac- 
ing, ugly spectacle, which pounds home its story with 
sledge blows. 

Greed depicts the courtship, marriage and ultimate 
debacle of a great, slow-thinking brute, coarse, gross and 
uncouth, and a pallid, scrawny cinder-wench. Both an- 
in every particular the product of a strata which is made 
up of the groundlings of humanity. She" wins money in a 
lottery and develops an unbridled avarice for gold. 
McTcague. thrown out of employment when the authori- 
ties stop his charlatan practice of dentistry, becomes the 
victim of drink. Then they slowly sink in the mire of the 
river-bottom of humanity on which they existed. He 
beats her to death with his hands and, taking her hoarding 
of money, escapes into Death Valley. The jealous Marcus 
follows, and when he comes up with McTeague, struggles 
for the money. The latter beats him over the head with 
a pistol, but just before the death-blow, Marcus snaps a 
handcuff over their wrists, so that in the end the big dul- 
lard sits manacled to a dead man. facing a death from 
anguish under the blistering sun of the desert. 

Lest the spectator confuse this environment and the>e 
characters with other societies and other men, there is a 
constant parade of the vulgarisms in which they wallow. 
Their swinish appetites and bestial habits are insisted upon 
with raw and repelling detail. Grime and squalor, coarse- 
ness and rowdyism' are elaborately presented. It is ail 
very true, but we dont think it belongs in the theater. 
(Continued on page 106) 




^46 

1a££ 



Zazu Pitts, Jean Hersholt, Gibson Gowland — three great actors 



of tke Montk 

kv LAURENCE REID 



NORTH OF 36 

The Best Western 

THERE is an extraordinary breadth to the scenes 
Which lrvin Willat has contrived for this screen ver- 
sion of the Emerson Hough story, about a great cattle 
drive across the plains from Texas to Abilene, Kansas — 
railroad terminus and one of the first cow-towns in the 
country. Dimension alone is sufficient to make the pic- 
ture notable among the more pretentious Western melo- 
dramas done in the films. Indeed, the director has 
attempted nothing more than bigness and ruggedness of 
setting. 

But that is enough, as we have said. The scope of the 
camera is tested in the reproduction of the huge cattle 
drive described in the novel. To one who knows only that 
cattle herds consist of "many" animals, the herd which 
Taisie. Jim and Han command, is such a one as might have 
been the pride of all Texas. They huddle, mill and mull 
about in such a fashion as to make the whole landscape 
heave and writhe. Onward they go, with the inexorable 
movement and measured tread of Time itself. It becomes 
an enthralling spectacle, this sea of movement. It is so 
expansive that at times it seems as tho Mr. Willat must 
have pushed back the horizon to give such compass to bis 
scenes. 

Running parallel with this seething, physical activity, 
is the romance which was written as a foreground piece 
for the atmosphere of the cattle country. Judged on its 
own, this romance is no "great shakes" and. without the 
setting, it seems that its brittle and fragile structure would 
shatter under the weight of its own pretensions. The 
story tells about the determination of Taisie Lockhart to 
drive her herd to Abilene and there dispose of it at a 
favorable price. There is another consideration. The 
villainous Sim Judabough aims to gain possession of the 
property. Jim Xabours and Dan McMastcrs accompany 
{Continued on page 106) 





Jack Holt, Noah Beery, Lois Wilson and Ernest Torrence 



Lillian and Dorothy Gish, in one of the most poignant scenes 



ROMOLA 

The Best Costume Drama 

AS everyone knows, this adaptation of George Eliot's 
greatest novel was made in Italy. In order to estab- 
" lish a historically correct background, Henry King, 
the director, journeyed to Florence and other Italian 
cities, taking Lillian and Dorothy Gish and several other 
American players with him. The result is a 
gorgeous picture — which is impressive with its 
reproduction of Florence of the fifteenth century. 
We have come to expect great things of Henry 
King. He has triumphed in bringing forth the 
historical significance in his fidelity to detail — in 
his handling of the mobs, and the manner in 
which its central figures, Savonarola and Tito, 
dominate the story. It's a picture of grandeur 
and atmosphere — with the historical side dwarf- 
ing the heart interest. 

Despite the title of the picture and the char- 
acter who is supposed to be the central figure, 
Romola herself is relegated to the background in 
order to stress the political conflict. It takes some 
time to get started, due to its collection of scenes, 
detail, and characters. And it often seems dull 
because it lacks movement. The attempt to show 
the plottings and counter-plottings of the Floren- 
tines by building up the atmosphere and setting, 
tends to slacken one's interest. Yet at the same 
time, the eye is caught and held by the exquisite 
photography, the massive reproductions, the color 
and sweep of the picture. 

(Continued on page 106) 

47 

PAG 



t 



Have You a Pet Superstition? 




In a pocket, over 
his heart, Walter 
Hiers carries a rab- 
bit's foot which 
was given to him 
by a Spanish 
gypsy, and he 
touches it when 
he's afraid things 
may go wrong. 
On the rare 
days when the 
thirteenth of the 
month falls on 
Friday, he makes 
a wish for good 
luck, with the rab- 
bit's foot in one 
and a horse- 
in the other, 
he's never 
stroke of 
luck on 
day 



hand 
shoe 
An<l 
had 




K. O. Rahr 



Mary Pickford and the new director, 
Josef von Sternberg, both believe in the 
horseshoe as a bringer of good luck. The 
other day they found a rusty old shoe on 
the studio lot, and picked it up together. 
We leave it to you to decide whether 
Mary took it home to nail over a door, 
or whether her director pocketed it 



How many of you 
knock on wood for 
good luck after you 
have made a state- 
ment of which you're 
a bit doubtful? Nor- 
man Kerry always 
does this, and he says 
that if you turn 
your head away while 
you make three 
knocks, no harm will 
ever befall you 



Bert Lytell has a 
queer notion about 
"lady luck." He 
says he can ward 
off bad luck best 
by doing the very 
things that many 
people believe will 
bring disaster. For 
instance, he always 
passes under a 
ladder, and even 
stands beneath it 
as long as he 
pleases 



Zazu Pitts has a 
collection of wish- 
bones that would 
amaze and delight 
you. Whenever in 
doubt about a pro- 
ject, she names 
one end of the 
wishbone "Yes" 
and one "N o ," 
then breaks it her- 
self and acts ac- 
cordingly 




Wkose Hand? 



In .which the owner oi the missing hand stalks unwelcome and by night 

By W. ADOLPHE ROBERTS 

Illustrations bv Edward R\an 



PART III 

(A synopsis of Parts I and II will be found on page 120) 



I 



T was a 
night for 
the balance 
of w h i c h 
y\ argot did not 
even contem- 
plate returning 
to bed. An at- 
mosphere of the 
s u per natural 
had settled 
down upon the 
house, and 
against this her 
clear brain was 
resolved to 
strive. Eugene 
followed her 
lead with an un- 
ci u e s t i on ing 
loyalty that 
showed she 
would always 
have to do the 
thinking for 
both of them ; 
yet this in him 
pleased her 
subtly, aroused 
a special tender- 
ness for the 
boyish, brave 
lover and hus- 
band he would 
be. 

Margot be- 
lieved as stead- 
fastly as she 
had at the be- 
ginning that the 
amazing hand 
was part of the 
body of a living- 




She knew if she were in costume by eleven it would be all right, and that the 
cast would probably eat lunch before settling down to work. It is like that 

in the movies 



-a sinister — human criminal. But the 



landlady, Cora Bellew, was doing her best to shake her 
nerve by indulging in hysterical vows that the house was 
haunted. And the two Irish policemen were far from 
taking the mystery in a normal spirit. 

Quinlan and Boyle had reported to the station-house 
by telephone. They had been told to stay where they 
were and try to get at the bottom of the matter. Their 
notion of how this order should be obeyed was to prowl 
heavily about Margot's room and wrangle ceaselessly as 
to whether any one had seen anything come out from 
under the bed. 

"That -movie girl may have been dreaming," insisted 
Boyle. "But I seen it with me mortal eyes — a white, thin 
hand, the hand of a ghost, God help us!" 

"Ghosts!" argued Quinlan, uncorivincingly scornful. 



"Ghosts ! Ain't 
ye' ashamed to 
have such a 
heathen 
thought ?" 

T It ere re- 
mained a point 
o n w h i c h no 
one had a theory 
to offer. What 
fl a m e on the 
carpet had 
Patrolman 
Boyle seen the 
hand extin- 
guish ? Margot's 
light was that of 
a match she had 
herself thrown 
down. His was 
inexplicable. A 
frozen horror 
prevented the 
company from 
voicing what 
was in the 
minds of all: 
Would it appear 
again? But the 
night passed 
without further 
happenings. 

Dawn found 
Margot sitting 
up with Eugene 
in Mrs. Bellew's 
basement room. 
She felt sud- 
denly stricken 
with weariness, 
but fought 
against it. A 
day of work lay ahead of her, her first day in the role of 
Conchita in A Toreador's Love. She was, due at the 
studio at nine o'clock. There were repairs which even 
her vouthful beauty would need, if she were to appear 
fresh before the camera, and any physical surrender 
would neutralize them • hopelessly. 

She started to her feet and got the still shuddering 
landlady's permission to make coffee. The three had 
breakfast together, then Margot overruled Gene's pro- 
tests and packed him home. 

"See you at the shop, old dear," she declared lightly. 
"If you get there first, keep mum. The story's my story. 
Leave the fun of telling it to me." 

Returning upstairs, she expelled the dubious police- 
men from her room. They could stay on the landing, 
she said, but she simply had to bathe and primp generally 

49 
PAG 



i 



GM°ticn FICTURF 




"I'm not a society bud or a sister of mercy," said Margot. "I'm 
if publicity ever harmed anyone in that profession, it' 

in some sort of privacy. With daylight streaming thru 
the windows, the room no longer frightened her. It 
would be absurd to believe that the lurker was still there. 
Somehow, adroitly, he had escaped. Whether he might 
return was a problem that did not immediatelv concern 
her. 

Cold cream, mascara and rouge have magical properties 
in the hands of a clever woman. By half past eight 
Margot, looking her exquisite best, was on her way to 
Astoria. She changed in the subway at Oueensboro 
Plaza, got off at Washington Avenue, and walked for 
several blocks thru a ragged suburban district. The 
Superfilm Company's vast studio loomed ahead of her 
like a hangar for Zeppelins. As one approached it, how- 
ever, one discovered an ornate entrance, with columns 
and insets of green stone and a sheltered curb for the 
automobiles of directors and stars. 

Margot hurried in, took several turns thru bare pas- 
sageways and found herself on the main production floor, 
it suggested all that mysterious region behind the curtain, 
stage and back-stage, of many opera houses brought to- 
gether, thrown into one and fantasticallv jumbled. Tall 
scenic creations — the sides of buildings, garden walls 
embowered in greenery, the prows of ships — stood about, 
or leaned against one another in stacks. Carpenters and 
other mechanics hammered and hauled industriously at 
/Tv the material for new structures. And here and there, in 



the midst of the confusion, 
showed completed sets where 
work was going on ; rooms 
furnished to the last detail, but 
without walls on at least on 
side, sometimes on two and 
three sides; rooms where actor; 
strolled and mimed, and upon 
which the batteries of as- 
sembled Kleig lights blazed. 

The filming of scenes that 
had been prepared the day be- 
fore started at nine o'clock 
sharp, tho following this con- 
cession to the boring doctrine 
of efficiency, the amount of 
time wasted thru the day. on 
one pretext or another, was 
truly remarkable. The movies 
are like that. Margot knew that 
her set was not ready, that the 
instructions she had received to 
be on time were little more than 
an official gesture. If she were 
in costume by eleven o'clock, it 
woidd be all right, and then the 
cast would probably have lunch 
before it settled down to work. 
Yet she changed before she 
picked her way thru a tangle of 
props to the far end of the 
floor, where A Toreador's hove 
had been in process of birth for 
the past fortnight. May 
Cheshire, Lulu Leinster and 
June Moore, in their street 
clothes, stood in a group with 
other minor members of the 
cast. Electric lights shining 
thru the slats of a cabin on 
wheels, her dressing-room, in- 
dicated that the star. Miss 
Corinne Delamar, was making- 
tip. Frederick Stoner, for 
once, lounged silently, while 
the stage hands adjusted a Spanish balcony, lie was a 
director of the old school whose regular habit it was to 
cut grotesque capers, launch orders and criticisms at the 
top of his voice, and behave generally like an escaped 
lunatic. A signal to the cameraman did not suffice for 
Stoner. He yelled, "Shoot!" as if that word possessed 
some magical quality. When a close-up was being regis- 
tered, he squatted down, cupped his hands about his eyes 
and peered. If the results were good, he dramatically 
implored the actor to "Hold it!" and if displeased, he 
indulged in anguished cursing. A simple call for the 
lights to be switched on or off came uproariously from 
him. 

Margot could tell by the incurious faces of her friends 
that Eugene had been discreet. He was standing apart 
from the crowd, tinkering with a camera, his back toward 
her. 

Margot !" Stoner greeted her. 
Sleep well, after that grand 



a picture actress, and 
i news to me" 



"Hello. 



morning ! 



vours 






"Top of the 
little party of 



wink." she answered. "I was 



rehearsing the 



f'Not a 

first scene of \'ew York's greatest detective mystery 

''Aw, come on! You look fresh as a daisy. It would 
take a real mystery to keep you awake all night. You 
cant convince us that Stella Ball and Old Man Murchison 
meant that much to your young imagination." 

As he spoke, it struck Margot as a remarkable thing 



that not once, since she had seen the hand of the lurker 
under her bed, had the case of Stella and Murchison 
crossed her mind. She had worked up finite a thrill in 
telling her guests about those two, but their odd disap- 
pearance from the same house had been outdone by the 
experience that had come to her. Wildly outdone — yes, 
that was it, she told herself. Yet she wondered now 
whether there might not be a connection between their 
drama and hers. 

"This was something brand new. Mr. Stoner." she 
cried excitedly, her plan of building up the suspense 
thrown to the winds. "A creature without a body or a 
face. It was in my room for hours. A policeman saw 
it. too." 

"A policeman!" repeated Stoner. Profound surprise 
and a certain apprehension were in his voice. "You 
were scared badly enough to call in the police, Margot?" 

"Oh, I was scared, all right! I called in Gene Yalery ■ 
first. Stand close, people, if you dont want to miss any 
of the grisly details." 

Her gesture in the direction of the girls was scarcely 
needed. They were crowding toward her, buzzing like 
bees, and followed by Yalery, calm in his superior role 
of the confidant in a great adventure. She was forced 
to return half a dozen times to the high spots of her 
story before the exclamatory emotionalism of the May 
Cheshire type of mind was sated. But Stoner. from 
whom she had expected a racy skepticism, listened to her 
merely with gloom. 

"It's a rotten thing to have happened — rotten!" he 
declared sourly. 

"Why so?" she snapped back, irritated, tho an hour 
earlier she would have agreed with his comment. "I'll 
wait a long time for another such break in the mdnotony 
of life" 

"A low-down burglar sneaking in and out of your 
room. Nothing very charming in that." he mumbled. 

"But, Mr. Stoner — you're absurd! It's an extraor- 
dinary mystery that hasn't begun to be cleared up yet. 
I'm going to solve it." 

"Want to be a woman Sherlock Holmes, eh? There's 
a danger in meddling witli that sort of thing. It might 
break into the newspapers." 

Margot stared at him, frowning. "I dont understand." 
she said. "I'm not a society bud or a sister of mercy. 
I'm a motion picture actress. If publicity ever harmed 
one in this profession, it's news to me." 

"Dont get me wrong, Margot," he blustered. "Yon 
know I've done all I could to shove you ahead. When 
I advise you to lay off of freakish publicity, it's for your 
own good." 

"But I'm not planning to do anything 
just for the sake of being written up. 
My investigation will be serious. If 
the reporters hear about it and come to 
me. I'll give them a straight story. 
What is there wrong about that?" 

Stoner had become lugubrious again. 
"I see I've got to say it. You're not a 
star yet, and you cant afford to 
pull front page stuff that would 
make the leading lady sore." 

"Oh — Miss Delamar !" said 
Margot, taken aback. 

"Yes, Miss Delamar! Think 
she'd like to see you in the 
papers when she hasn't been able 
to make them in a big way since 
we started this picture? Not 
so's you'd notice it !" 

"She might become interested 
herself, if she knew how queer 



„„-,0TI0N PICTURfT 

101 I MAGAZINE t) 

it's all been. Suppose I tell her what happened." * 

"No. Drop the whole business — please." Stoner's 
face flushed and his voice sharpened. An angrv light 
burned in his eyes. Margot- turned bruskly, walked off 
the floor and up-stairs to the dressing-room she shared 
with several other girls. She was furious at the recep- 
tion she had had from Stoner. It struck her as being 
unsympathetic, unjust. If his attitude toward publicity 
for her was sincere, why had he vacillated between one 
argument and another? First it had been the bogy of 
freakishness, then the possible hostility- of Corirme 
Delamar. It was too silly! And suddenly Margot began 
to laugh. She saw beneath the surface now. Stoner had 
been moved by petty jealousy. He had not been able to 
endure the thought that Eugene had been associated with 
her in an adventure, instead of himself. She recalled how 
especially glum he had seemed, listening to her tell of 
the help Gene had been. Of course, he didn't want a 
sequel, which might become a sensation and bracket her 
name with that of the man he looked upon as an im- 
pudent rival. 

Margot resolved that nothing should induce her to 
discuss the matter in the studio again that day. She did 
not weaken under the avid questioning of the girls of 
the cast. Hut it proved difficult to evade Stoner. The 
director had more approaches than one. He led her aside 
about an hour after she had reappeared on the set. 

"You dont credit me with being in love for the first 
time in my life, do you?" he asked, in his blunt way. 

"Really!" stalled Margot. "I'm not in the habit of con- 
sidering such things in working hours." 

"We're both in a game where love and work' are often 
mixed up. kid." 

She loathed him for the implication of favoritism at a 
price — for calling her "kid." But she controlled herself, 
and smiled bleakly. "I've told you several times that \ 
cant marry you. Why insist on talking about it?" 

"Just so you'll recognize that I do love you. That's 
all T a>k for the present. Now. take that story you told 
(Continued <•» pane 92) 



Dawn found Eugene 
and Margot still hud- 
dled in Mrs. Bellew's 
basement room. They 
were weary with fa- 
tigue, but none dared 
voice the question that 
was torturing the minds 
of all three — would it 
appear again 






Reeling 

Witk 

Laughter 



Glenn Tryon, of Hal Roach comedies, learned to drive his car by mail. 
Now Glenn wants his money back on his correspondence course 




Beauty and 
Olive Borden 
go hand in 
hand. After one 
sparkle from 
her glowing 
eyes, Arthur 
Stone's heart 
caught on fire, 
and he's willing 
to smash all 
records 



Even the pigs and the geese grow cocky 
Up on the Farm after they've seen 
themselves on the screen. You'll all 
want to go down to the farm after you've 
watched this Fox Sunshine comedy 




First down — 
five to kill ! 
But Ralph 
Graves is sure 
he wont weaken. 
You'll see this 
tackle in Parlor, 
Bedroom and 
Plumbers, 
played by 
the Sennett All- 
American team 



It's a good joke, but you'll 
never guess it till you see it on 
the screen. But Our Gang is 
always up to tricks, %vith little 
Farina in the lead, of course 



A department devoted solely 
to tickling the funny-bone. 
Here we offer an advance 
showing of laughs from 
comedies soon to be released 





One day among the girls made Billy Bevan a Mormon for life. You'll 
learn the latest vamping tactics in Giddap 



In vain Ben Turpin pleads that 
Monsieur Dont Care, but it's no use 
to try to argue with a lady who does 
her arguing behind a screen. The 
shy bride is Madeline Hurlock 



There are times and positions in 
which danger counts for naught. 
But in this Fox Sunshine comedy, 
it's "All for love and the world 
well lost" — even if the bough does 
break 




It takes more 
than this to 
ruin the wed- 
ding - day for 
Harry Langdon 
and Natalie 
Kingston. A 
bad beginning 
makes a good 
ending, is the 
motto for His 
Marriage Vow 



Jack Dempsey, 
attention ! Larry 
Semon, all 
dressed up in a 
starched white 
collar, will show 
you how he 
licks 'em all with 
one hand tied 
behind him. 
He's Kid Speed, 
all right 



53 

PAfil 



Wkat I Can Read in tke 






A Complete Analysis 




ADOLPHE MENJOU 



ANNA Q. NILSSON 



W. F. Seely 



I 



OX the screen one is always impressed with the 
finished manners and gentlemanly bearing of 
Mr. Menjou. In every-day life he is the same 
courteous, well-mannered person. 

In reading his character. I find in the forehead excel- 
lent mentality. He is a logical thinker, has well-developed 
perceptives and reflective faculties. Here, too, are shown 
splendid powers of visualization, an inclination to dream 
and to picture life as he wants it to be. 

The cheeks show a reserved, cautious nature, with well- 
developed secrecy. 

The chin and jaw show a love of the beautiful and 
artistic ; strong likes and dislikes, and combativeness. 
Here, too, there is shown much endurance. In the long 
line from the metus of the ear to the point of the chin 
there is shown executive and business ability. 

By his nose I know he is an observing person, quick 
to notice even minute details; a man with quick judg- 
ment, foresight, and splendid ability to concentrate ; one 
who thinks ahead and puts aside for the future. He has 
an inventive turn of mind and a good sense of values. 

His mouth shows kindness, enthusiasm, and interest 
in human nature. It shows, also, much poise, dignity, 
self-control, and the ability to be firm. The lower lip 
-hows patriotism and a love of animals. 

His hands prove he is a tactful, sensitive, artistic, in- 
spirational nature, one who is interested in the unusual. 

The lobe of the ear shows longevity. 

In making a summary of his character, \ find that 
Adolphe Menjou is a man of high intellect, quick of 
action both physically and mentally, an athlete and a 
good sportsman. 

I Tc is orderly, neat, and particular about his personal 



54 



OXE of the most natural, unaffected people I 
have ever met is Anna O. Xilsson. She makes 
no effort to impress one with her appearance or 
her importance. It is a rare treat to meet so 
real a person. 

The outstanding thing about her is the strength of 
character in her face. Her success has not come thru 
luck or good fortune but thru ability, hard work, and her 
strength and force of character. 

Most prominent is her splendid development of the 
will faculties. These are found in the chin and jaw. The 
long line from the metus of the ear to the point of the 
chin shows much determination ; the firmness of this line 
indicates that she has put forth every effort in all she has 
attempted. Her chin shows much persistence, great 
nervous energy and force rather than physical strength ; 
a great love of all that is beautiful and modesty of her 
own ability. Here, too, is shown affection. She not 
only likes affection but she also calls it forth. 

In the upper lip there is shown a charitable, enthu- 
siastic, sympathetic nature, with much poise and self- 
control. The upper lip shows a highly emotional nature 
with a well -developed maternal instinct, strong likes and 
dislikes, and great loyalty to those she loves. 

The breadth of forehead shows high mentality. She is 
interested in intellectual and serious things. Above the 
eves, tune and rhythm are well developed ; she has a 
good ear for sounds. Back of the hair-line the language 
sign is well developed, indicating a natural aptitude for 
languages. She has great susceptibility to color, high in- 
dividuality, and splendid powers of visualization. 

Her cheeks show a reserved, cautious nature. She can 
keep a secret. Her cheeks show, also, a great sense of 
(Continued on page 115) 



Faces of the Film Stars 



By F. Vance de Revere 





Edwin Duwev lie 



BESSIE LOVE 



MILTON SILLS 



Donald Diddle Keyt 



THIS analysis was made under difficulties, for 
Bessie Love was working in a picture, and be- 
tween sets was being interviewed by several 
people. 

Miss Love is very girlish, with a pleasing, friendly atti- 
tude toward everyone. 

In reading her character, I noticed- first her chin and 
jaw. Here are shown persistency, determination, forti- 
tude and endurance, an ability to rebound quickly from 
defeat or disappointment, and to surmount difficulties. 
The independence and liberty sign seems to be develop- 
ing in her jaw line. Such people think independently, 
have their own ideas on subjects. Her chin shows affec- 
tion, devotion to family ties and friendships: ability to 
call forth affection in others. 

In the mouth (upper lip) we find love of display and 
of pretty clothes, sympathy, kindliness, charity, and much 
enthusiasm and interest in people. In the lower lip we 
find the maternal instinct well developed. The parentheses 
about the mouth show pride, dignity, and a desire to 
lead and excel. 

The cheeks indicate that she has the courage of her 
convictions, industry, earnestness, sincerity of purpose, 
daring, lack of caution, and good powers of recuperation. 

In the nose we find observance, a lack of aggression, 
quick judgment, a good imagination, and a dislike for 
details. She learns quickly from everything she sees and 
hears. 

Her forehead shows a good mentality but not the 
student mind. Tune and rhythm are well developed, 
showing a love for dancing and music. The music sign 
is also well developed, proving her musical ability. In 
the forehead we find also mathematical ability. 

(Continued 



WHEN meeting Mr. Sills, one is immediately 
impressed with his forceful, dominant per- 
sonality. 

In reading his character, one notices first 
his forehead. It has unusually good breadth and height, 
indicating well-developed mentality and good powers of 
visualization, with ability to plan and organize. He is a 
highly individual person. The lines in the forehead show 
logical thinking and seriousness. Back of the hair-line 
there is a development indicating a large vocabulary and a 
fluent use of words. 

The shape of his nose shows that he does not like to 
work at things in opposition to his tastes. It shows also 
quick judgment, a good imagination and constructive 
ability. He is an observing young man and very 
analytical. 

The mouth (upper lip) shows poise, self-control, an 
interest in human nature, and the ability to be firm. The 
lower lip shows a love of pets, and strong desires, 
parentheses about the mouth denote leadership, pride 
dignity. 

The cheeks show daring and the courage of his 
victions. 

The lobe of the ear shows longevity. 

In the chin there is found a love of beauty, and 
sistence. He is not easily swayed ; has endurance 
combativeness, and great ability to debate and argue. 
His chin indicates, also, well-developed business ability. 
The line from the metus of the ear to the point of the 
chin is unusually long and shows determination. It has not 
yet been used to its fullest extent and so it is not so firm 
as it should be. No one could have the mentality and 
the business and executive faculties Mr. Sills has without 
on page 115) 

PAfi 



The 
, and 

con- 



per- 
and 



t 




Dick Barthelmess has a romantic as well as highly dra- 
matic role to play as the- hero of Classmates. Some of 
the scenes were actually shot at West Point 




If you like stories of African jungle life, you must hot 

miss White Man, with Alice Joyce and Kenneth Harlan 

as the central figures 




1 



Barbara I.a Marr plays a woman with a dual nature, in 
Sandra; Bert Lytell plays a neglected husband 



56 

Gt 



Critical Paragraph: 



Classmates 

IT'S an ideal romance that .Richard Barthelmess has 
in Classmates. He steps right into the character 
of the West Pointer and humanizes the role with 
such fine feeling that he appears thoroly lifelike. 
The picture was made several years ago but there is no 
comparison with the modern version. John Robertson 
has actually "shot" West Point and every bit of color 
and reality of the Academy is caught with marvelous 
detail. The central character who wins his appoint- 
ment from a small Southern town and who learns how 
to become a gentleman and an officer is finely estab- 
lished. It is a most sympathetic study. And Barthel- 
mess brings out the pathos in admirable style when 
he is dismissed. It is inspiring — this touch. 

What follows is a melodramatic chapter of adventure, 
as the youth is determined to bring back the cad who 
brought about his dismissal and thus restore himself in 
the good graces of his sweetheart. There is sincerity 
back of this picture — and drama and romance. It is 
saturated with atmosphere. The supporting company 
is excellent. 

White Man 

A story of exile and romance in the reaches of darkest 
■^^ Africa comes forward here — one telling a plot of a 
highborn lady running away from the altar to avoid a 
mercenary marriage — and who learns to love the fearless 
aviator who pilots her to the jungle. There it is in a 
nutshell. The h. b. lady using all her feminine wiles brings 
out the chivalry of the youth. But in playing the gentle- 
man, the plot has nothing to offer aside from the effort of 
an exiled scoundrel to ruin her. The aviator rescues her 
and eventually turns out to be an old friend of the hero- 
ine's brother. And. so there is a happy wedding. 

Old stuff? Most assuredly. Nothing is revealed that is 
out of the ordinary — and the director, sensing the plot 
shortcomings, has tried to hide it with atmosphere. The 
backgrounds are suggestive. Alice Joyce is appealing as 
the harassed heroine. Walter Long has the acting mo- 
ments as the villain, as Kenneth Harlan has nothing to do 
except wear his uniform becomingly. 



One of the mellowest of melodramas is The Midnight 

Express. Elaine Hammerstein is the innocent heroine 

of a dozen terrific adventures 




. 



About New Pictures 



Sandra 

HPhis one looks artificial all the way, particularly in 
"*■ its climax when the dream situation, so strongly 
suggested as a possibility for the director to make it 
somewhat real, is not taken advantage of — and it 
reaches its end with considerable straining of the intel- 
ligence. It is all about a woman's dual nature. Her 
passionate side dominates her. So she leaves the 
domestic hearth to worship at lavish shrines set up for 
her by European philanderers. The woman is in con- 
stant conflict with herself — and Barbara La Marr is 
called upon for some exacting work which eludes her. 
So emphasis is placed upon her voluptuous figure. 

The action becomes wandering and takes its character 
with it. The plot is relegated to the background to 
exploit the lavish settings of the heroine's triumphal 
jaunt thru Europe. The scenes as a result become 
repetitious and meaningless. The poor husband is 
totally neglected. The director has sacrificed every rea- 
sonable premise to exploit the picture's expenditures. 
The players strive to be real, but they fail because of 
artificial plot and characters. Too much effort is spent 
in having them stare into the camera. 

The Midnight Express 

' I 'he business of making good by the dissolute and cow- 
■*■ ardly son of a railroad president furnishes the plot of 
this picture. It is an idea that has performed yeoman 
service on the screen, but dressing it up with fast and 
exciting action sort of compensates for the hoary material 
back of it. Indeed, everything happens in the film that 
should happen in the mellowest of melodramas. It makes 
no pretense to being anything else. At least, what it 
reveals is sincere. 

As may be expected, the story deals with the rattlers — 
of how the regenerated hero saves the life of the president 
of the road — and the latter's daughter when he flags the 
train. For good measure, it is packed with wild jazz par- 
ties, auto smash -ups, escaped murderers who make them- 
selves dc trop with the innocent heroine — and various 
other tried and true ingredients. Elaine Hammerstein is 
(Continued on page 82) 

A scene from The Mine With the Iron Door, a Western 

which is a scenic gem, featuring Dorothy Mackaill and 

Pat O'Malley 





Idle Tongues, which exploits the evil consequences of 

gossip, has a notable cast, including Doris Kenyon, Percy 

Marmont and Lucille Ricksen 




Alma Rubens plays Gerald Cranston's Lady, and James 

Kirkwood her husband, in this interesting domestic 

drama based on a marriage of convenience 




Ian Keith plays the part of the villain in Love's Wilder- 
ness, with Corinne Griffith and Holmes Herbert as the 
exemplary characters 



57 

PAfi 



i 






W9 




Keen Comment by TAMAR LANE 

Illustrated by Harry L. Taskey 



They Do It in the Movies 

THE Governor grants a pardon just in time to stay 
the execution. 
The dashing young American always succeeds 
in quelling the revolution in the South American 
republic and marries the President's daughter. 

The kind and forgiving wife gladly takes the erring 
husband hack after his wild affair with the other woman. 




The dashing American always quells the revolution 
and marries the President's daughter 

The husband gladly goes back to his wife after his affair 
with the gay and beautiful other woman. 
But in real life it's different ! 



The "Discovery" of the Month 

f~^ regory Kelly, who plays the role of the weakling in 
^-* Manhattan. He is a new and pleasing personality to 
the screen. He will go far if given the right kind of roles. 
But will the producers make use of him? 



Will von Sternberg Sell Out to the Box-Office? 



Xow. it remains to be seen whether von Sternberg will 
persist in his energies and announced ambitions to do tine 
things on the screen, or whether he will, like all the rest 
who have gone before him, answer the call of "big money" 
and give himself over to the business of making films for 
the box-office. 

Tn this will lie the answer to whether The Salvation 
Hunters was a sincere effort, or merely an accident. 



Rudy the Great Must Watch His Step 

"V\7"hex this column, several months ago, suggested that 
Valentino had made a mistake in absenting himself 
from the screen, thus allowing other players easily to 
steal their way into the hearts of many movie fans, we 
were bombarded by a score of film followers who ridi- 
culed the idea that anyone could usurp Rudy's popularity. 

Time has proved these admirers to be wrong. Not 
only has Xovarro risen to a popularity approaching Val- 
entino, but Rod La Rocque has also stolen his way into 
millions of hearts, while Jack Gilbert is rapidly becoming 
one of the most popular players of the day. 

Public favor is a fickle thing:. 



I 



'""Piie most-talked-of film of the year 
is The Salvation Hunters, made by 
the young man named von Sternberg. 
Charlie Chaplin and Doug Fairbanks 
say that it is a great picture. In 
truth. The Salvation Hunters is 
not a great picture, but von 
Sternberg is to be highly com- 
mended for the subject he has 
selected and for the manner in 
which he has handled the story 
as a whole. As a director, this 
newcomer shows promise. 
58 
at 



Thank You, Jack 

Jack Gilbert- is making good the predictions, of this 
column published over two years ago when it placed 
him among the twelve best actors on the screen and fore- 
cast a brilliant future for him as a screen favorite. 

Gilbert's work in His Hour was sufficient to place him 
up among the most popular stars of the day, and now 
The Snob proves him to be an actor of rare power and 
subtlety. 

Frivolous Sal, which is a clever combination of heart 
interest and melodrama, is something radically different in 
the way of a Western, and proves that McDonald is one 
of the most versatile producers now engaged in the busi- 
ness of supplying the film public with entertainment. 
(Continued on page 124) 



The actor hoom is on again in Holly- 
wood; even the inferior ones are holding 
out against the producers for larger 
salaries 





On this page we 
present two of the 
finest character 
actors on the 
screen: Claude 
Gillingwater and 
Alec B. Francis. 
They're both play- 
ing in A Thief in 
Paradise— Mr. Gil- 
lingwater is Noel 
Jar dine, a crusty 
old Englishman, 
and Mr. Francis 
is Bishop Saville 




Mr. Jardine and 
the Bishop are old 
cronies, who 
spend many an 
evening over the 
chess board. The 
Bishop adores 
rousing his friend's 
fiery' temper by 
trying to help him 
self to an extra 
move (above), but 
he never gets away 
with it, as you can 
see if you glance 
at the left 



Question: Can a BisKop Cheat at Chess? 



(You'll find the answer above) 



59 

PAfi 



i 



m 



MM -.- B I 









CLARA 
BOW 



■MMi 



Since Clara made her little bow 

Upon the screen, fans have asked how 

To say her name: She'll have you know 

That it's pronounced not "bough" but "bow' 



P. S. — Above, she's imitating Mae Murray; at the right, she's 
showing you how Gloria Swanson looked in The Humming Bird 



I 



60 




. 




Wide World 



DAGMAR GODOWSKY 

Did yon see her trying to vamp Rudolph Valentino in A Sainted Devil? 

She has a subtle and mysterious method all her own. Watch for her in 

Playthings of Desire, and after that, in The Lost Chord 



i 



61 

PAfiU 




Picking Actors for Parts 



W 



Kcyes 

Walter Long can put the most 
villainous look into his lustful 
close-ups of any man on the screen 



HO is the 

most useful 
actress in the 
world ?" I asked the 
casting director. 

"What do y' mean 
—the most useful?" 

"Well, if you had to 
send a company away 
on a long trip and they 
were going to make a 
lot of pictures and you 
could only send one actress whom would you choose." 
I knew what his answer would be before I asked him — 
Bessie Love ! Any casting director in Hollywood would 
give the same answer. For versatility, little Miss Love 
is without rivals. 

She can be fifteen^-or fifty. She is convincing and 
winsome as a screen sweetheart, yet she can be almost 
sexless. She is one of the few women of the screen 
who can make you believe in pure virginal innocence and 
unsophistication ; yet one of her best parts was that of 
the ruined girl in Neilan's The Eternal Three. In Charlie 
Ray's Dynamite 
Smith, she gave an 
astonishingly vivid 
and accurate picture 
of a prostitute in a 
tough dive on the 
Barbary Coast. 

r I 'he casting direc- 
"*" tors tell me that 
one of the hardest 
parts to cast in any 
picture is a mother. 
Most of them are 
too sweet and sticky. 
They are inhumanly 
loving in their ten- 
derness. One of the 
best bets in Holly- 
wood for mothers is 
Mary Carr, because 
she always preserves 
a little note of de- 




Zazu Pitts has no rival for wist- 

fulness, pity and dull despair — 

the deceived servant girl 



© Lumiere 




Anders Randolph always 
looks as if he has a lot of 
brutal, ruthless force un-- 
derneath his gleaming 
shirt-front 

tachment and humor. 
She can be motherly 
without being mushy. 
When it is to be a 
mother of a duke or a 
climbing, newly rich 
heiress — where the 
mother love has to be 
a little hard-boiled — 
the casting directors' 
thoughts are apt to 
turn to Emily Fitzroy. 




B>> HARRY CARR 



She is tall and commanding, with an aquiline face and a 
haughty carriage. As a villain mother, Josephine 
Crowell stands alone. She is the one who yanks the 
crippled children around by their frail, thin arms. Off the 
screen, she is one of the most charming women imagin- 
able, but she has more mean screen menace than any 
other character woman. 

"\7illains are the most interesting actors to cast in a 
" picture — and the most important. A really good 
heroine and a 
capable villain 
can carry along 
a very common- 
place hero. 

The casting 
directors like 
Wally Beery 
best for a 
villain if he is 
going to be 
rough with 
men ; he is the 
champion hero 
beater of the 
screen. They 
tell me that 
when they want 
a villain to chase 
the pure, un- 
sul li e d gell 
around the 
room, knocking 

over the tables, there is no one like Walter Long. He 
can put the most villainous look into his lustful close-ups 
of any man on the screen. Noah Beery is a great 
"heavy" for parts like the brutal and suspicious old hus- 
band of the unhappy girl-wife. He has the slow delibera- 
tion of a cat torturing a mouse ; but he is at his best when 
he has the mouse actually and admittedly in his claws. 
Lew Cody is regarded as the best of society villains — the 
caressing and wily betrayer of young wives. Charlie 
Gerard is nearly always used when they want a crook in 
high society — the outcast son of a great family gone 
wrong. 

George Seigmann is a great villain, and a great actor 
in parts where his villainy has the weight of authority 
behind it, such as brutal army officers, or bestial political 
bosses. 

The funny part of all this is that none of these villains 
is in the least like this in private life. 

I dont know a single villain who isn't charming off 1 
the screen. Most of them, by a coincidence, are witty 
and brilliant talkers. They are, on the whole, the 
most kindly and unselfish actors in Hollywood. Which 
almost goes without saying, because no actor with 
very much selfish vanity would consent so to sacrifice 
himself. 

There is one actor in Hollywood who occasionally does 
villain parts that stand by themselves. That is Hallam 
Cooley. His villainy is tossed off with gay, debonair 
indifference; you never can help having a sneaking lik- 
ing for him. 



Alice Terry gives you the idea that 
if the heroine weren't a mission- 
ary's daughter or something, she'd 
just naturally tear up the scenery 



WHY the different stars stick to their own 
particular roles — the girl whom you adore 
as a sweet young thing would he a failure as 
a disappointed wife, and the man you adore 
as a lover you would hate as an army officer 



•""There are two actors with a singular ability to portray 
■*" stern authority. No one in Hollywood, available to 
the casting directors, can so convincingly paint -a picture 
of a banker, an editor or a sea captain in a big way as 
Hobart Bosworth. He has the unmistakable air of a 
man who has "arrived" by his own efforts, and who has 
a lot of brutal, ruthless force underneath a gleaming shirt- 
front. Anders Randolph has a power something akin 
to this, only he runs more to directness. As a bucko 
mate or a ruthless man-hunter, he is wonderful. Strangely 

enough, both 
Mr. Randolph 
and Mr. Bos- 
worth are 
painters ; they 
would be at the 
easel now if 
they could 
choose the 
career that ap- 
peals most 
strongly to 
them. 




H 1 



Bessie Love is one of the few 

screen actresses who can really 

make you believe in pure virginal 

innocence and unsophistication 



ENRY WAL- 
T H A L L 

does a line of 
parts which are 
exclusively h i s 
by right of con- 
quest. No one 
on the screen 
ever has ap- 
proached him. They are a little hard to describe. He is 
at his best as a quiet, self-contained man of aristocratic 
blood, relentlessly consecrated to his own ideals. Stern 
elegance, so to speak. 

Alice Terry has a quality that is unique to herself; 
"*■•*- that makes her one of the most interesting of the 
"free-lance" actresses available to casting directors. She 
has an air best described by quoting Stephen Phillips' 
Ulysses . . . "in her wildest abandonment a something 
withheld." She has a great power of suggestion ; she 
gives you always the idea that, if the heroine were not a 
missionary's daughter, or the daughter of an aristocrat or 
something, she would just naturally tear up the scenery. 
Also, she has humor. 

"K/Talcoi-m McGregor, the casting directors tell me. 
is a boy who also has a unique quality. The 
average screen lover is a lover. McGregor is a young 
business man in love. He always gives the impression 
that he has a number of interests and purposes in life; 
and one of them is getting married to the girl he has 
found. 

T-Jelene Chadwick is something like this. When she 
is wooed and won on the screen, you always have 
the feeling that she is entering into a marriage that will 
have its share of love and kisses; but will also have 
regard for gas bills and country club dues. 

There is a practical reality, a down-to-earth quality, to 



both these actors that 
is of great value in get 
ting over certain dra- 
matic effects and cer 
tain kinds of stories. 
When you see Mc- 
Gregor win a girl on 
the screen, you know 
she has surrendered to 
a "good provider." 
And this without los- 
ing romance. 




Leonard 



Lewis Stone is about the only 
star who can act like a pro- 
fessional army officer of the 
American type 



"\7"iola Dana' is perhaps the most famous of the free- 
* lancers available to casting directors. She has the 
unusual combination of high humor with big emotional 
fire. Viola also has the advantage of a beautiful flapper 
figure and a whale of a box-office appeal. But, of course, 
she demands — and gets — a very high salary. 

Tewis Stone also has a line of parts absolutely sewed up. 

■*-* For one thing, he is one of the few actors in Holly- 
wood not to the man- 
ner born, who can act 
like a professional 
army officer — of the 
American type, that 
is. I have seen no 
actor except von 
Stroheim who makes 
a German officer con- 
vincing. Even so 
clever and adroit a 
young fellow as Ben 
Lyon put in hours 
upon hours under the 
tutorage of an ex- 
Prussian dragoon 
captain trying to learn 
the German formal 
bow. In the end they 
had to give it up in 
despair. Eric von 
Stroheim has an 
educated back-boni 
that knows how. 




C. Heighton Monroe 

Helene Chadwick looks the 

kind of wife that keeps 

count of the bills as well 

as the kisses 



Lew Cody is the very best 
of the society villains — 
the caressing and wily be- 
trayer of young wives 



"D obbie Agnew is an- 
other actor who 
has the inside track on 
a peculiar line of parts. 
He almost stands alone 
as the kid brother of 
the heroine — to be 
kissed and cuffed and 
confided in. 

Hulking, slow, lout- 
ish awkwardness goes 
(Continued on page 113) 





If you pointed a 
snub-nosed revol- 
ver at a young 
lady, and ordered 
"Hands Up!" what 
would you do if 
she only waved 
her hands impishly 
at you, and then 
brazenly winked 
one eye at the 
revolver? 



Turning tke Tables 



i 



There is one adjective in the English language that 
suits Madge Kennedy to a T. It is "glorious." 
Whether she is dancing and dimpling, or whether 
she is solemn and sorrowful, or whether she is petu- 
lant and prankish, or whether she is tempestuous and 
terrifying, she is ever glorious. Motion picture-goers 
may well celebrate her return to the screen, for she 
long ago proved that she was one of its most ver- 
satile actresses, just as she has long been considered 
one of the cleverest stars on the legitimate stage. 
Her last screen appearance was over a year ago, when 
she played Molly Townsend in Three Miles Out. She 
has been starring in Poppy, a highly successful musi- 
cal comedy, for more than two years now, which 
proves to perfection that she can sing and dance as 
well as act and look the glorious person she really is 



"Put up your hands!" 
barks Madge Kennedy to 
Conway Tearle, in a 
breathless scene from 
Bad Company. Conway 
obeys with one hand, 
but how about the other? 
It looks very much as if 
he were preparing to box 
the fair bandit smartly 
on the ear. Do not miss 
this picture, for the 
denouement of this par- 
ticular scene is well 
worth seeing 




64 
Gi. 




"In Days of OH, When Knights Were Bold" 



At the top of the page 
we give you a stirring 
scene from Dangerous 
Money. Wouldn't the 
modern flapper just 
"eat up" excitement 
like this? Bebe 
Daniels told us she 
had the most thrilling 
time of her life. And 
doesn't she look as if 
she really were a lady 
heart-breaker of "ye 
good olde days"? We 
never have seen her 
in a modern hat half 
so becoming as this 
medieval head-dress 




Here you meet young Mr. Gonzalez again, in a scene from his second 
picture, Argentine Love. And here is a real puzzle for you: Which is the 
handsomer, Marc Gonzalez or Ricardo Cortez, who is pictured with him? 



Do you recognize the 
two gallant young 
gentlemen who are 
crossing swords so 
wickedly, to prove 
which is the braver 
and, consequently, 
the more deserving 
of the beautiful 
Bebe's favor? Yes, 
you're correct, the 
one at the right is 
William Powell, who 
played with Lillian 
Gish in Romola. But 
the one at the left is 
an almost-new screen 
hero — Marc Gonzalez, 
a young Spaniard 



65 

PA 6 



t 




AILEEN 
PRINGLE 

This striking study 
of Miss Pringle 
was made especially 
for this magazine. 
She is posing -on 
the stairway of her 
beautiful home in 
Hollywood which 
she has just closed 
for several months. 
She is now in the 
East, playing op- 
posite Adolphe 
Menjou in A Kiss 
in the Dark 



Along the 
Atlantic Way 

Eastern News ana Gossip from 

HAL HOWE 



W 



HEX I dropped in one day last week to 
see Jack Dillon, who is producing One 
Way Street at the Biograph Studios, 1 
heard a great piece of news. Arriving on 
die set. 1 noticed an atmosphere of something different. 
On the faces of the electricians, property men, camera- 
man and the balance of the staff, was a broad, appre- 
ciative grin. And their eyes were focused on a group 
familiar to all of you. There was lovely Anna Q. 
Nilsson, adorably ingenue-ish Marjorie Daw. and the 
screen's new Adonis, Hen Lyon. They were gathered 
about the director, Jack Dillon, and all three were pat- 
ting him on the back and shaking his hands. As J 
watched, Anna Q. and Marjorie Daw clapped their 





No, no. tlii:- isn't a 
little make-up 
party, staged in the 
Bartlielmess apart- 
ment, it's a domes- 
tic scene from New 
Toys, in which 
bath Mary a n d 
Dick are playing 



Adolphe Menjou. 
the Prince, and 
Frances Howard, 
the Princess, in 
The Suan, pose 
with Mme. Ferenc 
Molnar, wife of 
the author of the 
play 



A famous quartet, snapped in Italy. Reading 
from left to right : Ramon Novarro, Lina 
Cavalieri, Kathleen Key, and Lucien Muratore 



Coast, these two will officiate as godfather and 
godmother at the christening. 

/'"YV another set I bumped into Milton Sills, 
^-^ Doris Kenyon and May Allison, all bring- 
ing their pulchritude (with apologies to Milton 
Sills) and their dramatic caliber to The Inter- 
preter's House, which Lambert Hillyer is di- 
recting. May Allison told me that sbe wanted 
to get away from the golden-haired ingenue 
rule- >be has been playing, and show the great 
American screen public what a "reel bad" 
woman she can be. 



O 



Bachracl) 



hands ecstatically and 
simply gushed — that is the 
word, simply gushed ! Then 
I got the news. Mrs. Jack 
Dillon had that day pre- 
sented a son to her hus- 
band. John Francis Dillon. 
Jr.. and the whole pro- 
ducing unit were joining- 
Jack, Sr.. in a pxean of joy. 
In professional circles. 
Mrs. Dillon is known as 
Edith Hallor and was the 
star of Leave It to Jane 
and other Broadway suc- 
cesses. As soon as Richard 
Rowland, President of 
First National, returns 
from Europe, and Colleen 
Moore returns from the 




YER at the Famous Players Studios in 
Astoria. Sidney Olcott was finishing 
Salome of the Tenements, and I got a 
glimpse of the exotic face of Jetta 
Goudal, looking the camera out 
^ of countenance. Onlv a few 
weeks back. I dined with 
Jetta at the Ritz. She told 
me then that she felt this 
role would give her a real 
opportunity to show her 
wares. She has been wait- 
ing a long time for such an 
opportunity, and, to judge 
by the general chatter, she 
will arrive in this. 

Sidney Olcott was busy 
directing five hundred people 
in the Ghetto scenes, when 
one of the Jewish extras 
tapped him on the shoulder 
and pointed out a glaring 
anachronism. 

"You see those lace cur- 
67 
PAfi 



I 



03 



AMOTION PIClURf 

CI I MAGAZINE <- 




to know what a motion picture star is supposed to do 
in a social way, just read the list of social and civic 
organizations which invited Tommy to be present: 
the Dixie Automobile Show wanted him to drop in 
as guest of honor for a special gala night, the Better 
Films Committee desired his presence at dinner, the 
local theater managers all begged him to make personal 
appearances, a dozen civic organizations made a bid 
for his services, and a country club wanted him for 
University Night ! 

Tommy had to turn a deaf ear to most of these re- 
quests, but when he heard that the Community Chest 
was having a hard time to raise its budget, he pitched 
in with a contribution of his own and gave his time 
also. 

T\7illiam de Mille has come East with Jack Holt 
v * and is ready to shoot Men and Women, an in- 
triguing title which I hope will stand. However, dont 
be surprised if it is released under Trousers and 
Skirts, for what we want nowadays is sex appeal, and 
Men and If omen isn't sexy enough. It sounds rather 
technical. Read the daily newspapers for the balance 
of the cast. As our forms' close, it is not yet announced. 
When I was in Astoria, E. Mason Hopper had arrived 
and was busy preparing for the production of Thf 
Crowded Hour. Bebe Daniels, by the time this goes to 
press, will have arrived and be busy at work on her 
fourth starring vehicle. One who should know tells 
me that Bebe, in Argentine Love is lovelier than ever 



World 
Wide 



The Gishes and their 

mother wave good-bye 

to their New York 

friends 



tains over J. Cohn's store?" the extra said. Mr. Olcott nodded. 
"Well, that "ain't right at all, 'cause down in Hester Street they never 
had any lace curtains in those windows." 

The setting, which was erected on the huge upper -stage of the Para- 
mount Long Island studio, was the largest ever built for a picture 
made in the East by Famous Players. It showed Flester and Ludlow 
Streets of New York's East Side. 

TOMMY Meighan has returned from Birmingham, Alabama, 
where he made his exteriors for Coming Through. If you want 





Ben Lyon congratulates Director Dillon 
on the birth of John Francis, Jr. 

before. How this can be, I cannot imagine, for 
in Dangerous Money I figured she had scaled 
the peak of pulchritude — couldn't be any lovelier 
and still be human. Argentine Love also marks the 
debut of another Latin great lover. Marc Gon- 
zalez, a Cuban, who deserted materia medica for 
the screen. He did so well in a duel scene with 
William Powell in Dangerous Money that he was 
given this opportunity in 
Argentine Love. By the 
way, before I forget it, 
William Powell is playing 
"heavy" opposite Dix in 
Too Many Kisses. 
(Continued on page 102) 



Two of the fiercest 
cross-word puzzle fans 
in Filmdom are 
Frank Tuttle and 
Beb? Daniels 




They're Getting Each Other's Number 



Above, Director Paul 
Sloan has put in a 
short-distance call for 
Richard Dix. They're 
great friends, these 
two. Both are blessed 
with an amazing fund 
of energy, and a rare 
sense of humor — a 
combination that is 
bound to win success 
for anyone. Since 
starring in Manhattan, 
Richard's fan mail has 
more than doubled 
and, as you all know, 
that means he is twice 
as popular — and so 
that means he is just 
about the most pop- 
ular of all the film 
stars 




Richard Dix wears a 
fandango costume — • 
whatever that is — in 
his new picture, Too 
Many Kisses, and it's 
the first time he's 
ever been "all dressed 
up" for the screen. 
Frances Howard is his 
leading lady. Just for 
fear the few of you, 
who have not seen 
Dick on the screen, 
may think of him as a 
handsome hero who 
is always suave and 
smiling,, we give you 
proof that he's a 
"regular guy" in this 
picture from the won- 
derful scrap staged in 
A Man Must Live 



69 

PAG 



t 




On the C 



amera 



Coast 



Ti 



Marion Davies in cute pigtails 

instead of curls in a scene from 

the first part of Zander the 

Great 




'Bobby," the newest member 
of Buster Keaton's family 



Below, the La Plante sisters, Laura 
and Violet, were snapped before 
they left Los Angeles for Honolulu 



HE return of the Gish girls for the open- 
ing of Rom ola was one of the most pic- 
turesque and appealing incidents I have 
ever seen in Hollywood. 
It has been five years since they have been in 
California. When she left here, Lillian was 
still struggling for recognition. She came back 
the acknowledged queen of tragedy. 
The crowd that met them at the station was al- 
most an index to the Gish girls. There was a 
group of millionaire producers and famous 
authors who never succeeded in getting within a 
mile of them. There was another group that were 
gathered to the Gish hearts : old stage carpenters with 
toil-worn hands all slicked up in their store clothes ; girl 
cutters married and bringing down their new babies ; 
seamstresses who had sewed the clothes for the Gish girls 
in their earlier pictures. Any one who could have witnessed that 
home-coming without being affected would have to have had a heart 
made out of re-enforced concrete. 
By way of contrast, the actual opening of the picture was the most gorgeous 
event I have seen in Hollywood. The Gish girls came out on the stage together 
when the picture was over ; and Lillian made a frightened but sincere little speech. 
1 hey were dressed in quaint, lovely gowns that somehow gave the impression that 
they were not quite of this world. Out there behind the footlights, they looked 
like two fragile and beautiful little flowers. 

They only stayed from Saturday afternoon until Tuesday morning, when they 
left again for Xew York. 

Mary Pickford was so anxious not to lose one minute of Lillian that she and 
her mother took rooms at the Ambassador Hotel during their stay. 

After their departure, one of the Los Angeles newspapers commented on the 
fact that the only three girls who had been seen on the streets of Los Angeles 
for five years without one bit of make-up — no lip-sticks, no mascara, no powder 
and no eye-brow smooch — were Mary and Lillian and Dorothy. 

Tt has been announced 
A that Mary is to do a 
picture under the direction 
of the newly discovered 



Viola Dana is a little savage 

in her new picture. As u 

Man Desires 





Colleen's favorite Sunday occupation is 

reading a magazine in a cozy outdoor swing 

with just her own self for company 




Piarry Carr s department of news and 
gossip of the Hollywood picture folk 



genius, Josef von Sternberg; and that it is to be 
laid, as to scenery, in the steel_ mills of Pittsburgh. 

Mary seems, however, to be a little uncertain 
about it. The truth is, the whole direction and 
trend of her future screen career seems to be 
a little uncertain. She doesn't know whether 
to grow up or remain a little girl on the screen. 
Douglas Fairbanks is going back to the scene 
of one of his early triumphs for his next picture. 
lie is going to make a sequel to The Mark of 
Zorro. The hero is to be a son of Zorro and the 
great thrill of the drama is to come when the young 
Zorro is fighting against hopeless odds. A figure 
comes riding up over the hill to the rescue. It is the 
old Zorro with his trusty sword. 

'"Phe Warner Brothers have made a sensational announce 
■*■ merit about Ernst Lubitsch. He is to make another satirical 
comedy somewhat in the manner of The Marriage Circle. This is 
to be the last short picture he will ever make. Thereafter, he will make 
nothing but big historical costume spectacles. As an assurance that this plan will 
be carried out, the Warners have made a permanent budget of $900,000 for each 
of his future pictures. 

"K/Toxte Blue has struck on stiff shirts and high social atmosphere. Monte 
■*■ - 1 wants to do Western outdoor pictures where he can bestride the bucking 
bronc. In his boyhood days, Monte was a real cowboy ; also a locomotive fireman. 
a hobo, and man)- other he-man things. And now he has the agony of watching 
(hessed-up actors trying to play cowboy parts while he strides thru drama in 
the odor of an effete culture. Monte was married not long ago to a lovely little 
Danish girl who was the model for many of the Howard Chandler Christy maga- 
zine covers. They have gone to live in a beautiful bungalow home in Beverly 
Mills. Of all the actors in Hollywood 1 imagine that Monte is the most sincere 
student of the theory, and technique of acting. 

One of the reasons why 
Monte is so anxious to do 
Western stories is they 
(Continued on paye 90) 



Dont miss seeing Mae Busch 

in Frivolous Sal; she's a 

wonder 




No, this isn't a tea-garden in 
China, it's a little open air 
restaurant near Hollywood, fre- 
quented by Carmel Myers, 
Aileen Prin gle and other stars 





L 



A sketch of Rex by Mr. Ingram 



Charlie Murphy, the screen's 

youngest actor, has lion cubs for 

playmates 





\AA/% -A^ 

< A¥ A 




Mary Astor learned the difficult art of walk- 
ing with snow-shoes, before she left for 
Canada, where her next picture is being 
filmed 



PAG 



A Page of Promising N 



ewcomers 





'JU/isu 





a Vi o u 5 e 
on fir>e 



Are You a Pola Negri Fan? 

IF so, you will enjoy her picture on the cover of our 
April magazine — Pola, in all her dark, barbarian 
beauty, pictured on a background of flaming red. 
Inside is The Mystery of Pola, by Harry Carr, who 
knows her well. What sort of woman is she to you? Do 
you feel you understand her — Pola, the untamed barbarian 
of the screen, who might kiss a cook or kick a king, if the 
spirit so moved her? 
To you does she seem 
cruel or kind ? Con- 
descending or over- 
bearing? Gracious or 
disagreeable? What do 
you prophesy for her 
future ? She is capable 
of almost anything. 
Will she follow her 
ambitions and become 
the greatest actress the 
world has ever known ? 
Or will she "elope with 
a hermit and spend the 
rest of her life hunting 
wolves or diving for 
pearls" ? Give us your 
Opinion. 



Are You a Vamp? 

"Dead what Nita 
Naldi and Barbara 
La Marr have to say 
on the subject. The 
two greatest vamps of 
the screen disagree. 
Nita admits she is a 
vamp — says she is 
proud of it. Barbara 
insists there's no such 
thing as a vamp — to be 
called one is an insult. 
Which one of the two 
is right ? Turn to pages 
42 and 43 and decide. 

Write Fan Letters? 

And do the stars 
"^^ answer them? If 
they dont, read What 
the Fans Write the 
Stars, on page 24. Per- 
haps you'll find there 
the explanation of 
the ominous silence to 
your letters. 

Did you rave? Did 
you gush? Did you 
tell them how much 
you loved them? Or 
did you offer construc- 
tive criticism? 



Have You Ever Put a Plot into Practice ? 

See what happened to Peter the Playgoer 
when he tried to do a movie rescue 



J)) do a little 
rescue work 




Are You Superstitious? 

TTL7'ould you go around the block rather than walk 
v under a ladder? Would you rather starve than be 
the thirteenth at a table? Are you disillusioned to know 
that all movie stars- believe in signs and are frightfully 
superstitious? The men as well as the women! Walter 
Hiers always carries a rabbit's foot. Alary Pickford 
would rather die than not pick up a horseshoe. Her new 

director, Josef M. Stern- 
berg, wont start a pic- 
ture without one hang- 
ing over the set. You'll 
find Their Pet Super- 
stitions, on page 48 of 
this number, amusing 
and interesting. Do 
you know the pet super- 
stitions of any other 
stars? Or have you 
some interesting ones 
of your own? 



Can You Pick 
a Winner? 

"pROM out a thousand 
shadows who flit 
across the silver screen 
in parts obscure and 
small, can you pick the 
one that will live and 
be great from the nine- 
hundred - ninety - nine 
who will die ? Look on 
the page at your left. 
Is the girl or the man 
whom you picked for a 
star, pictured here on 
our page of Promising 
Newcomers ? What is 
that indefinable quality 
which makes for great- 
ness on the screen? 
Who has it whom we 
have omitted ? Whose 
face would you add to 
this page? Send us 
your Promising New- 
comer. We will be 
glad to hear from you. 

New Faces? 

"Y\7hose would you 

like to see in our 

Portrait Gallery? If 

you have a favorite 

whom we have omitted, 

suggest his or her name 

to us. Perhaps we can 

feature that special one 

in our next issue. We 

want to hear from you. 

73 

PAG 



I 




! 



Frances K. — So you 
think I am too snappy for 
an old man of over eighty. 
Yes, I liked Norma Shear- 
er very much in He IT ho 
Gets Slapped. She was 
born in Montreal, Canada, 
and is twenty-two years 
old. Dark hair and blue 
eyes. Dorothy Mackaill 
has brown hair and she 
was born in Hull, Eng- 
land, hazel eyes and is five feet five. 

Ruth T. — Money is the ball-bearings on the wheel of life, but 
the happiest people are often those who have the least. Tom 
Mix was born in Texas. Yes, married to Victoria Forde. 

Virginia F. — But flirtation is detention without intention. 
Claire Windsor was married to a Mr. Bowes. Charles Ogle was 
Doctor McGovern in Secrets. Conway Tearle is to play in 
The Pleasure Woman for Vitagraph, to be produced in Brooklyn. 

Maureen M. — Well, men are born with two eyes, but with one 
tongue, in order that they should see twice as much as they speak ! 
I'll be quiet. Valentino is twenty-nine and Charles Ray is 
thirty-three. Richard Barthelmess is twenty-nine also, and 
Ramon Novarro is not married. Alan Hale has started directing 
his first picture — The Scarlet Honeymoon, with Shirley Mason. 

Pell. — Well. I am sure glad to see you again. Thanks for 
the picture. That was a funny joke you sent me. Your letters 
always brighten up the whole room. 

L. De Vita. — Boil within, not over. He who is most slow in 
making a promise is the most faithful in its performance. Jack 
Holt and Lois Wilson have the leads in The Thundering Herd. 
Bebe Daniels is with Famous Players-Lasky. 

Wendy. — Well, if every man works at that for which nature 
fitted him, the cows will be well tended. Reginald Denny is 
playing in California's Straight Ahead. Well, it is this way — 
calories are units of heat. All bits of food we eat are units of 
calories, and if you are stout you will probably require about 
1900 to 2000 calories a da}-, depending upon your age and weight. 
No, that was Gertrude Olmstead as the sister in George 
Washington, Jr. Enid Bennett is twenty-eight. Your letter was 
mighty interesting. 

Gunvor E. — Well, the number of stars visible with the naked 
eye is only about 7000, but the number visible thru the telescope 
is over 70,000,000. Mae Murray is with Metro. Yes, there is 
a new club, the Pastime Movie Club, Stephen Patrick, 202 Plum 
Street, Fairport Harbor, Ohio. 

Blue-Eyed Baby. — People take great pains to catch each other, 
but very little pains to hold on to them. Joseph Schildkraut was 
born in Vienna. Virginia Valli in The Alaskan. Lila Lee in 
Coming Thru. 

Yetta G. R. — T should say I am good. I swear only by my 
country, lie ohly for my best friend, steal only away from bad 
company, and drink only buttermilk. Too good to be true. 
Virginia Valli was born in Chicago, Illinois. Yes, of course I am 
over eighty. Write me again some time. 

Victoria Estate.— T like the way you start off. Carmel Myers- 
is playing in Ben Ilur. you know. Winston Miller, Patsy Ruth's 
twelve-year-old brother, has one of the three leads in Kings of the 
Turf, for Fox. 

Pell.— Oh, hello! Thanks for "The Dazzling Light." It 
was sure interesting. 

Donnie M. — Yes, 1 walk very erect, having been straightened 
74 
GE 



This department is for information of general interest only. Those 
zAio desire answers by mail, a list of film manufacturers, etc., 
must enclose a stamped, addressed envelope. AH letters should 
contain the name and address of the writer, but a fictitious name 
will be used in answering inquiries if it is written in the upper 
left-hand comer of the letter. Address: The Answer Man, ljj 
Duffield Street, Brooklyn, N. Y. 



by circumstances. Kenneth 
Harlan is married to Marie 
Prevost. Charles Ray's 
second luce Picture made 
under the working title 
The Desert Tiddler, has 
been changed to Percy. 

Louise W. — Yes, The 
Eagle's Mate was filmed 
some years ago with Mary 
Pick ford and James Kirk- 
wood in the cast. You're 
right. Now there is the Honorable Patches Club, with John 
Bowers as the hero. Write to Helen Gillet, Route 1, Box 383, 
Inglewood, California. 

Jack Spkatt. — How's the wife. Jack? No, neither Liliom nor 
Lombard!. Ltd., have been Actionized in our magazines. Buck 
Jones is playing in The Arizona Romeo, for Fox, and Jack Hoxie 
in The Taming of the West for Universal. 

Harry I. — Forrest Stanley in U'hcn Knighthood Was in 
Flower. Lynn Harding was the King. Betty Compson and Lop 
Chaney and Joseph Dowling in The Miracle. Well, there isn't 
much difference between the best and the worst of us. 

L. L. Dimples. — Reckless drivers may be entitled to liberty — 
but not license. Some philanthropists dont even let their right 
hands know where their left hands got it. Renee Adoree is not 
married. Your letter was very interesting. Beverly Bayne. 
Dorothy Devorc and Louise Fazcnda have all been loaned by 
Warner to star in Cheaper to Marry for Metro-Goldwyn. 

Billy Blue Eyes. — Warner Brothers for Monte Blue. Buster 
Collier and Tan Keith are included in the cast of Nazimova's 
My Son. Malcolm McGregor and Alan Roscoe in The Girl of 
Gold with Florence Yidor. Yes, he laughs most who has fine 
teeth. 

Ade D. — You will have to have more than experience, Ada, to 
get into pictures. There are a lot of experienced players out of 
work. 

Micky. — How are things in Gay Paree, Micky? You refer 
to Jetta Goudal in The Bright Shawl. I liked your stationery 
too. I should say I do do cross-word puzzles. Who isn't doing 
them over here? " The discovery that the cross-word puzzle dates 
back to 2000 B. C. doubtless accounts for the obsolete words in 
the modern ones. 

Dick's Admirer. — Everybody gets bumped now and then. Some 
get it harder than others. Richard Barthelmess was born in 
New York City. David Powell is included in the cast of Kings 
in Exile, with Alice Terry and Lewis Stone. 

Eregon Rose. — Robert Frazer is not an Indian, no more than 
I am. The home of the President was named the "White House," 
after the home of Martha Washington, in Xew Kent County, 
Virginia, in which her wedding occurred. Laura La Plante in 
The Rambliu' Kid. 

Marion S — Well, I will be glad to help you any time, but 
when you ask for the cast of about ten pictures, I will have to 
pass. "Buck Jones was born in Yineennes, Indiana, and he is 
twenty-nine. Victoria Forde is Tom Mix's wile and he is forty- 
four." Well, it is easier to get married than to Stay so. 

M W.— You want an interview with Lewis Stone. And now 
the Norma Talmadge Correspondence Club, Constance .Riquer, 
14207 Northfield Street, East Cleveland. Ohio. Kenneth Harlan 
will probably play opposite his wife in Recompense. 

Ermina G. — Of course, T am an old man— with a long. long, 
beard. It sure does come in handy these bitter cold days. So 



(ft-MOTION PICTURE 

11101 I MAOAZIM" 



you like Pierre Gendron. Sidney Chaplin is going to play any 
time for a Distributing Company. 

The Sainted Devil. — Really! J. Warren Kerrigan's name 
stands for Jack. That was Norman Kerry. That was Lincoln 
who said : "You can fool all of the people some of the time, 
and some of the people all of the time, but you cannot fool all 
of the people all of the time." Glad to hear from you. 

Bonnie. — Yes, I do admire the man who raises a family, pays 
his bills, and minds his own business. The pictures you men- 
tioned are to be released thru Pathe Exchange. Monte Blue in 
Lover of Caniillc; Huntley Gordon in Ne'er the Tivain Shall 
Meet. 

Dick. — Ha, ha — how to get rich — manufacture something- 
pie dont need. You can reach Ernst Lubitsch at Warner 
Brothers, Sunset Boulevard and Bronson Avenue, Los Angeles, 
California. 

Roberta H. ; Inquisitive; Juanita; Mildred F. ; Wild Peggy: 
Mary A.; Curious Kids; Curious Coolie; Alice M. W. ; Victor; 
Movie Bug ; Dorothy S. ; Ralph L. ; Marty ; Marion L. ; 
Cherry D. Your letters were very interesting. But I had to 
put you in the alsorans. 

Doris A. — Virginia Warwick is married to Jimmie Adams. 
David Powell in Kittys in Exile. Aileen Pringle in One Year to 
Live, with Antonio Moreno, Rosemary Thebyand Dorothy Mac- 
kaill.' 

Tommy Lou. — You say the reason telephone girls are called 
operators is because they cut you off in the middle of a con- 
versation. Lloyd Hughes is married to Gloria Hope. Marjorie 
Daw has the lead opposite Ben Lyon in The One Way Street. 

Thomas F. K. — No, Ramon Novarro never played in Monsieur 
Beaucaire. I know of no such picture. Robert Frazer is six 
feet and weighs 170 pounds. Brown hair and eyes and not 
married. 

Harry and Eddy. — Fred Thomson is married to Frances 

Marion. Well, there is no trouble so great that can stand up in 

a busy brain. I never worry, what's the use. Everything- is 

ng to be all right, as Ernest Truex say>. Anyway, when the 

ook is not good, try' the uplook. 

Marvin. — Thanks for the picture. Warner Baxter 
was born in Columbus, Ohio. He is married to 
Winifred Bryson and they are living in 
Hollywood, California. Mary Pick- 
ford's next is to be a story of the 
Pittsburgh steel mills. Joseph 
Sternberg will direct. 

SUNKIST. — Ah, that's grape- 
fruit! Giving advice is an un- 
necessary responsibility — and it is 
not popular. Tom Mix is forty- 
four, you know. Billie Burke, 
Clara Bow and Mae Marsh have 
red hair. Jack Holt was born 
May 31, 1888. George Walsh is 
playing for I. E. Chadwick, a new 
producer. 

Kitty P. — Raymond McKee i- 
married to Marguerite Courtol. 
Walter Miller in The Rapids. 
Norma Talmadge still has three 
productions to make for First Na- 
tional before starting her releasing 
contract thru United Artists. They 
will probably be Tzvo Women; 
Kiki ; and Mine. Pompadour. 

What'll I Do.— Well, I am 
glad you get enjoyment in reading 
my answers away off in Paris. 
No, Pierre Gendron is not Amer- 
ican. Address him at Warner 
Brothers, Sunset Boulevard and 
Bronson Avenue, Los Angeles, 
California. 

Flaming Lily.— No, I try to 
please my readers when I can. 
Fatty Arbuckle is playing in 
vaudeville in Paris and will later 
go to Berlin to play there. Home 
is the place where we are treated 
best, but where we grumble most. 

Helen K. — No soft soap please, 
soap is often made of lye. Wil- 
liam Haines is with Metro-Gold- 
wyn. Yes, naturally, I like to 
hear the nice things that are said 
about this department. I believe 
it was Bulwer who said : "How a 
little praise warms out of a man 
the good that is in him, and the 
sneer of contempt which he feels to 
lie unjust chills the ardor to excel." 




Tony Fan. — Yes, indeed, your favorite motion 

picture star is very happily married. Above, meet 

Mr. and Mrs. Antonio Moreno 



Viola S. ; Marie B. ; The Unlucky; Nettie; Louise 
Miss Kreitzberg; Florida; Helen C. ; J. Hoxie Admirer; Mary 
P.; Tommy Lou; Annie M. ; Dottie; Interested; Sophie; 
George T. ; Jack C. P. ; Janet G. ; Hazel Eyes ; Helen M. D. ; 
Miggs and Roy D. O. Boy. Your letters were just the thing, 
but all of your questions have been answered somewhere else in 
this department. 

Enzedder. — Thanks very much for the little black cat calendar. 
I have it hanging right over my desk, where I can see it all the 
time. I dont know whom you can be referring to when you speak 
of Beatrice. Creighton Hale isn't doing much these days. So 
you liked Anna Christie better than you did A Woman of Paris. 
Lila Lee and Thomas Meighan are playing together again in 
Coming Thru. The young lady you mention is married, but she 
has no small son. Your letters are always mighty interesting, 
so write to me often. 

Miss Ruby W. — Well, you cant bring sunshine into the li\ - es 
of others and keep it from yourself. Lewis Stone is with First 
National. Billy Sullivan and Marceline Day are included in the 
cast of William Desmond's Red Clay. 
Peggy. — No, no, Baby Peggy is not a Jap. 

Fictitious Billie. — So you liked Colleen Moore in Flirting 
Willi Lore. Margaret Landis and Cullen are brother and sister. 
Molly H. — W'hen we are young, we have all we can do to 
keep from laughing when we shouldn't ; when we grow older, 
we have all we can do to laugh when we should. Monte Blue is 
with Warner. No, I haven't seen The Take yet, but I ! ope to. 
Stewart. — Well, you do say such very nice things about this 
department. Yes, the Bushmans and Baynes are still married. 
No, Norma Talmadge has no children. 

Nobody's Darling. — Rudolph Valentino has decided that after 

all, his first picture for Ritz-Carlton will be Cobra, Nita Naldi 

has the lead opposite. Incidentally, Rudy has shaved off his 

beard. I can see that Adolphe Menjou is one of your favorites. 

W. Roa. — You sure have the right idea. 

Rosalie L. — Ben Lyon is twenty-three. Irving Cummings is 

with First National. Mary Miles M inter is reported engaged 

to Commander Harold H. Ritter of the U. S. N. Well. I manage 

three meals a day. To eat is human — to digest, divine. 

Mary Mc. — There is really no way I can help 

you get into pictures. I'm sorry, indeed. 

Gibraltar. — The old rock himselfi 

Well, they cant call you a brick 

anyway. No, how do I know 

whether Gloria Swanson is going 

to let her hair grow. They tell 

me that it is the style to let hair 

grow. Your letter was mighty 

interesting. 

C. E. K. Queensland. — Vivian 
Martin is on the stage, you know. 
Yes. travel tends to broaden one, 
but a padded coat will do it, too. 
Eugene O'Brien is playing oppo- 
site Virginia Valli in Siege, with 
Mary Alden as the Aunt and 
Marc McDermott as the Uncle. 

Gerald M. K. — Dagmar Godow- 
sky played in pictures for some 
time. Conway Tearle has had 
several wives. 

Lucio R.— I should say your 
letter was interesting. Speaking 
about Clara Bow, she is heading 
the casts of Capital Punishment, 
free to Lore and The Boomerang, 
all for Schulberg Productions. 
Nilcs Welch is with Vitagraph. 

Georgina. — Yours sure was a 
treat. No, indeed, my beard isn't 
a joke. It's quite a necessity to 
me. Yes, Sigrid Holmquist is 
playing in The Pleasure Woman. 
adapted from the novel. The House 
of Lynch. 

M. L. B. — Bobby Connelly was 
the little boy in Humoresque. Gas- 
ton Glass was the lad grown up. 
No, Ben Lyons isn't in the cast. 
Agnes Ayres in The Awful Truth. 
Hot Dorg. — It's a question 
which you enjoy most, attracting 
praise to yourself, or detracting 
praise from others. Charles Mack- 
is playing in Bad Company. He is 
married to Marion Lovers, and Anna 
Q. Nilsson to John Gunnerson. 

Chippy. — Mae Murray is five 
feet and weighs 100 pounds. Al- 
berta Vaughn is twenty. 

75 

PAG 



PICTURI7 
VZIME i\ 

D.; I 



Letters to the Editor 



W 



Page the Casting 
Director 

Dear Editor : It's not 
"what's wrong with the 
movies?" It's "what's wrong 
with the casting director?" 
For he deserves a large part 
of the blame for ruining pic- 
tures that might otherwise be 
splendid. 

If there is one thing more 
vital than any other to the 
success of a picture, it is the 
casting of the psychological 
type into at least the principal 
roles. Yet many casting 
directors show no discretion 
whatsoever and insist on 
assigning the roles with an 
utter disregard of type. 

If Miss Blank, the popular 
flapper actress, has proved a 
good box-office attraction, the 

casting director, in order to use her name as bait for unsuspecting 
fans, will cast her in a tragic, emotional role, wholly unsuited to 
her, perhaps one entirely foreign to her personality and ability. 

The best example of this sort of bone-headedness is Viola 
Dana in Revelation. Also — but I wont judge Colleen Moore until 
I see her in So Big, tho to me Florence Vidor would make a 
far more convincing Selina and is much better suited to the role. 

Another victim of this monster of indiscretion (I refer to the 
casting director) is Percy Marmont. He is one of the very few 
screen stars who have the power to interpret a character in a 
natural, restrained manner; yet, whenever he is given a role, it 
is played down, and someone far less deserving than he is takes 
the laurels. As Valentino is the great lover, Charles Ray, the 
country boy, so Percy Marmont is the psychological man for 
the idealistic role. If someone with foresight would only recog- 
nize this and sign him up for a really big part, what a picture 
could be made ! Then others might realize his sterling qualities 
and he would become one of the big personalities of the screen. 

There are other capable actors and actresses of the highest 
ability who, if they were only given a chance by that champion 
blunderer, would make pictures that would be remembered in 
the future as the very best of their kind. May some of the un- 
honored and unsung artists be appreciated in the near future, 
and given a chance to 
show exactly what they 
can do ! R. E. M., 

Quebec. 



E are giving our readers a chance to 
express their opinions in print, ana 
to be paid for it. For the best letter (which 
we will illustrate) we will pay nve dollars. 
Writers of otber letters published will re- 
ceive three dollars ; extracts from letters, one 
dollar. Be brief, and to the point. Write 
us a snappy, interesting letter of from two to 
four hundred -words in length. Give your 
reasons for your likes or dislikes. Do not 
neglect to sign your name and address, altho 
we will use your initials only, if requested. 



I 



More Pshaw! 
Mr. Shaw 

Dear- Editor: Edi- 
torial, Pshaw, Mr. 
Shaw! in December 
issue is fair enough. 

In my opinion it 
strikes at the root of 
what is wrong with the 
whole motion picture 
industry, or, rather, 
what the people think 
is wrong with it. For 
the people in general 
know as little about the 
industry as they do 
about Soviet Russia, 
and those who pop 
loose with a personal 
opinion in a trade ar- 
ticle, interview or fea- 
ture article, usually 
come of the herd who 
know the least about it. 

To me it seems some- 
what flimsy when 
someone cracks loose a 
lot of hunches, pro- 
cured with one eye out- 
side the studio fence. 

76 
OB 



The casting director is 
never so happy as when 
he has draped an actor 
in a role that does not fit 




To review a film is not grasp- 
ing the truth of that which 
produces it. 

Mr. Shaw's opine should 
not mean anything to anyone 
but Mr. Shaw. The same is 
true of other attempts to 
knock the polish off the in- 
dustry. I often wonder what 
Tamar Lane tames. I am 
wondering now just how 
Walter Haviland answers his 
own question, Why Did They 
Doll Up Dempsey? He 
speaks of the "olden days" 
and the "picturesque mug." 
Mr. Haviland should have 
been with me one day in Salt 
Lake City as I stood in front 
of the old Zang bar. He 
would have seen a half-baked 
roughneck draped awkwardly 
in the doorway. Enter the 
old Jack Dempsey of Grand 
Theater fame, trotting along doing his training. A sarcastic 
remark dribbled from the booze-soaked human curtain in the 
doorway. Blam ! ! ! In the result of that scrap I saw the answer 
to Mr. Haviland's question. Jack Dempsey's appearance in that 
battle and his appearance "dolled up" in the picture today, is 
answer enough. But if Mr. Haviland did not know the Dempsey 
of other days, "before the dawn," he is excused. After all, 
pictures are not teachers ; they are entertainers. 

P. V., 
— Alhambra, California. 

The Rise of Rudy 

Dear Editor : Once upon a time there was a young man who 
was not a perfect specimen of American manhood, neither re- 
markably dauntless nor brave. His appearance did not suggest 
shining virtue nor impeccable nobility. The casting directors 
whom he interviewed decided he wasn't the sort of man to 
appeal to our American girls. He did not seem fitted to jump 
off cliffs, rescue maidens in distress or register high-minded 
devotion in the close-ups. But they admitted he could dance well 
and that he was what was recognized about the studios as a 
good type for the "society villain." They forgot to find out 

whether or not he could 
act — but sometimes the 
big movie organizations 
are careless about 
minor details. 

At any rate Rudolph 
Valentino got into the 
movies. 

Here, then, is my 
theory of his phenom- 
enal rise to stardom — 
this man who is not a 
hero in real life, but a 
sensational success on 
the screen. It is this : 
He does not look like 
your husband. He is 
not in the least like 
your brother. He does 
not resemble the man 
your mother thinks you 
should marry. He is 
not like the nice boy 
who takes you to all 
the high-school dances. 
Women throng to see 
him in motion pictures 
because he typifies Ro- 
mance. He is the hero 
of the love affair you 
always longed for, but 
never had. 

The men who know 
him in business like 
him. But they dont 
understand the reason 
(Cont'd on page 107^ 



/ / 



tfM^ 



Advertising Section 



<OfJ^SM 



^ ihe Duchesse do, Richelieu 

tells how to have 
A Lovely Skin 



I 




" The woman whose life is given not only 
to Society but to concert-singing must al- 
ways appear with a complexion fresh- 
ana radiant. 

"Care of her skin, second only in im- 
portance to the care of her voice, can best 
be obtained by the daily use of Pond's 
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quisitely soft and lovely." 



^kNXOoA^X— ^i-T^l n tVj^XXJw 



^ 



1LTAIR full of golden lights, shadowy 
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complexion which makes everybody turn 
to look, women with envy, men with de-' 
light. The charm of a nature gay, gener- 
ous and sincere. 

These make the Duchesse de Richelieu 
a woman everybody loves to see — and to 
know. And to hear, too, for she has a 
lovely soprano voice of limpid tone. 

In the exclusive social set of Baltimore 
— always famous for its "Baltimore belles" 
— she spent her gay girlhood. But since 
her marriage to the head of one of the 
oldest titled families of France, she is 
oftener seen in the smart circles of Paris. 
And in New York, too, where her home, 
"The House on the River" is the scene of 
many gatherings of the socially elect. 

Among its lovely old furniture, books 
and objets d'art from France — many of 
them handed straight down from the great 
Cardinal de Richelieu, himself— she moves, 
a hostess full of grace and charm. 

The Duchesse de Richelieu was deter- 
mined that her cream-and-white skin 
should remain always as fresh and youth- 
ful as it is today. For, she said, "the 
woman whose life is given not only to 
society but to concert-singing is com- 
pelled to appear fresh and radiant." 

When she learned of the Two Creams 
that beautiful women everywhere depend 
upon to cleanse and protect the skin, she 




declared: "They keep the skin exquisitely 
soft and lovely." This is the method the 
Duchesse approves: 

Pond's Cold Cream for Cleansing. At 
least once a day, always after any expo- 
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washed with dew! 

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Try for yourself, today, this method 
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will keep your skin as creamy-white, as soft 
and fine as the Duchesse de Richelieu's 
own. The Pond's Extract Company. 



The Duchesse deRiCHEnEu 

Twice an aristocrat. Before her 
marriage to the head of one of the 
oldest houses in France she was a 
"Baltimore belle" oj one of the 
first families. Today she is a social 
leader in France andtheUnited States. 
Above, a glimpse of the music-room 
of her New York home, " The House 
on the River." 



THE PRINCESSE MARIE DE BOURBON 

THE PRINCESSE MATCHABELLI 

THE VICOMTESSE DE FRISE 

LADY DIANA MANNERS 

MRS. MARSHALL FIELD, SR. 

MRS. CONDE NAST 

MRS. O. H. P. BELMONT 

MRS. JULIA HOYT 

MRS. GLORIA GOULD BISHOP 

MRS. CORDELIA BIDDLE DUKE 

are among the women of distinguished 
taste and high position who approve 
Pond's Method of caring for the skin. 

FREK OFFER : Mail the coupon and we will 
send you free tubes of these two famous creams and 
an attractive little folder telling how to use them. 



The Pond's Extract Company, Dept. C 

143 Hudson Street, New York. 

Please send me your free tubes, one each of 
Pond's Cold and Vanishing Creams. 

Name 

Street 

City State 



When you write to advertisers please mention MOTION PICTURE MAGAZINE. 



77 
PAG 



FABLES IN CELLULOID 



By MARGARET NORRIS 



anc 



HELEN HOKINSON 



m 




^t 



\jf 1/w iMeU' fov %h , n>! " 



To a poor and improvident couple in Hollywood was born an 

unwanted child. A babe of extraordinary beauty. One day as 
the mother aired him in the park, a beautiful lady said to her, "If 
you will rent me this baby to act in my picture, I'll pay you well." 

The mother consented gladly. They called for the baby in a 
limousine and returned him a few hours later with a fat check 
pinned to his bonnet. 

"Now we need work no more!" cried the mother, waving the 
check before the father. "Our baby will support us." 

But, blinded by the easy money, the parents let him be 
worked so hard they did not notice he was growing thin and 
fretful until the lovely lady said, "You have neglected your baby's 
health, we must find another for our picture." 

"See!" cried the angry father to the mother, "You have killed 
the goose that laid the golden eggs. Now I must go to work!" 

Moral : Greed to need doth often lead. 







ft ^cny'cd/To-'Jfi/ufiir CuMfiwdj \P-oe&/. 



A max who for years had played only the role of a "heavy," grew 
tired of being stupidly bold and bad and having the audience 
hiss when he entered. He longed to become a comedy star, to 
throw custard pies, chase in and out revolving doors and flirt with 
scantily gowned women. 

So he bought himself some Charlie Chaplin shoes, a pair of 
eyebrows that did not match, and appeared before the director 
to pull off some comedy stuff. 

At his first stunt nobody cracked a smile. 

At his second one, everybody yawned. 

At his third, one of the electricians chased him off the set and 
they proceeded with the regular business of the picture. 

"Never mind," said the Heavy, "only nit-wits go in for comedy, 
Melodrama has much more class." And he pasted on the familiar 
black mustache of the villain. 

Moral : It is easy to despise the unattainable. 




I 



T wo brothers, a farmer and a screen hero, laid a wager as to 
A -which one would be the richer in ten years. 

Said the screen hero to the farmer :■ "You poor rube ! my 
salary is more in a week than you can lay by in a year. I will 
spend like a drunken sailor for nine years and beat you by saving 
for just one." 

So he built himself a magnificent home, bought many cars, mar- 
ried a beautiful wife, and cut a wide swath from coast to coast. 

But the farmer sold his crops in the best markets, saved every 
cent and banked the profits. The value of his land increased with 
time and at the end of five years he was in clover. 

Meanwhile the screen star had grown so extravagant he couldn't 
economize: his debts were piled sky-high when he lost his job. 
And he had to borrow money from the farmer. 

Moral : Plodding often wins the race. 

78 
oe. 




A WOMAN who, altho long past her first youth, was still play- 

ing flapper roles on the screen, was horrified by the carrying 
of her own flapper daughter. 

The girl carried her own hip flask, smoked like a chimney, 
danced each night until dawn, and flirted outrageously with every 
man she met, whether on or off location. 

The newspapers were full of her escapades. Ministers made 
her the subject of their sermons. From coast to coast she was 
known as what the young girl should not be. 

Scandalized by what she saw and, still more, by the reports that 
came to her from all sides, the mother called her daughter to her 
and said : 

"My child, why do you not behave like a lady?" 

"Mother," replied the girl, "why do you not show me how:" 

Moral : Example is the best preeept. 






Advertising Section 



OTION PICTimi 

MAGAZINE 



"But Your Highness doesn't 
even know who I am." 
"Too true," sighed the Princ.-: 
"Ionly knowl have foundered 
in the waves of your hair!" 




I 




---that night she danced 
with the Prince 



TheMostThrillingMoment of my Life 

by Jacqueline Harwood 
When I first got to Paris, some months ago, 
I was the most excited girl you ever saw. How 
eagerly I anticipated the many delights of this 
capital of youth and gaiety — the hundreds of 
interesting places to visit; the inspiring monu- 
ments and marvelous cathedrals; the fascinat- 
ing shops, lovely mannequins, the races, the 
wonderful art galleries — to say nothing of the 
myriad receptions, balls and other court affairs 
to which I had entree through my friends 
among the inner circle of the American colony ! 

During the next few weeks my life was one 
lovely dream, but there was one great dis- 
appointment in store for me. Frankly, I didn't 
seem to meet with my usual success at these 
social affairs. 

Naturally I was mortified when I realized this, 
and I set about to find the reason. Finally in 
desperation I begged my trusted friend, May 
Norton, to tell me what was wrong. 

At first she hesitated. Then when she realized 
I was in earnest she tried to help me. 

"What feature do you think is most impor- 
tant to a girl's beauty, Jacqueline?" she began 
tactfully. 
"I'm not sure if I know," I replied. 

"Well, if you'll notice you'll see that all the real popular 
girls here have very thick hair and keep it beautifully 
marcelled. The men of France are very critical about a 

woman's hair, and " 

She didn't need to finish her sentence. That was where 
the trouble lay — my tousled, scraggly hair! Hmv unat- 
tractive it looked that moment, as I turned a troubled 
glance into the mirror! 

May tells her secret 

"But what can I do," I asked anxiously. "I have had 
marcels galore. My hair looks fine for a while, but soon 
it s straightand scraggly again." 

"That's just the trouble," May replied, "you've been 
having it marcelled too much. It has taken all the lifeout 
of your hair. You know, every operator does it differently 
and puts the waves in a different place. That's what makes 
your hair so unruly." 

May hesitated a moment and then walked over to her 
dresser Opening the lower drawer, she pulled out a queer 
little elastic contraption and a bottle of liquid. 
"I used to have the same trouble you're having," she con- 
tinued, "until I learned about this curling cap. I got it 



just before I left home— and since then I've never had 
any more trouble with my hair." 

It took but a moment for her to explain how this simple 
curling device worked; how it put in the waves without 
applying heat and, by always getting them in exactly the 
same place, trained the hair to slay marcelled. 
In a second May had a towel about my shoulders and 
was giving me an actual demonstration of her new dis- 
covery. Icould hardly wait the fifteen minutes it took 
for the curling fluid to dry. Finally when May removed 
the cap and told me to look in the mirror, what a delight- 
ful surprise it was! Instead of the unruly, scraggly locks 
I was accustomed to seeing, there was the loveliest mar- 
cel I had ever had! 

On with the dance! 

The next night was to be held la Grande Bat Masque, 
which it was rumored Prince Dimitri was to attend in- 
cognito. Before dressing that evening, May let me try 
her curling cap again. This time my marcel was even 
more beautiful, so I went to the ball with pulse beating 
fast and hope running high. 

About midway of the evening I noticed a pair of burning 
eyes focused on me. They belonged to a tall, graceful 
young man whose handsome face was only partly hidden 
by a tiny mask. His regal bearing told me here was the . 
Prince. 

The rest seems like a dream to me. 

I remember being held in the strongest arms I've ever 
felt. I remember floating through the most beautiful waltz 
I've ever heard. I remember a stroll through the con- 
servatory, where a melodious voice murmured "sweet 
nothings" in my ear. I remembermany other dances with 
the fascinating Prince — and hundreds of envious eyes 
that followed every step. 

I shall never forget that evening as long as I live. It was 
my night. Yes — thanks to May Norton and an ingenious 
American inventor — that was my night ! 
* * * 

You may be sure I was never a "wall flower" after that. 
Immediately I ordered a curling outfit for myself, and as 





To put on the Curling Cap. 
simply extend the elastic head- 
band with the hands and bring 
it over the hair. Then with the 
fingers or an orange stick, you 
puff out the hair in little 
"waves" and let them dry in 
this position 

(Patents pending) 



After you have adjusted 
the Curling Cap you can 
read or finish dressing 
while theCurling Liquid 
is drying. It takes only 
15 minutes— and then 
you will have the love- 
liest marcel youeversaw ! 



I continued to use the remarkable Curling Liquid and 
Curling Cap my hair constantly became thicker, glossier 
and more wavy. I felt it would be no more than fair for 
me to write the inventor about my wonderful experience 
and thank him for what he had done for me. I felt that I 
would be doing a fine thing, too, for thousands of other 
girls who have the same trouble with their hair that I 
had. T>> them I cannot recommend this Curling Cap and 
Liquid too highly. 



Try it at our risk 



Thousands of girls and women will have Miss Harwood 
to thank for this opportunity, for at her suggestion, we 
are going to give them a chance to convince themselves of 
the remarkable results they can get with McGowan's 
Curling Cap and Curling Fluid, without risking a cent. 
Ninety-eight women out of a hundred who try this Curl- 
ing Cap are most enthusiastic ahout it and can't say 
enough in its favor. They are the best advertisements we 
could have, so naturally we are anxious to get the 
McGowan Curling Outfit into their hands as quickly as 
possible. 



Send no money— just mail the coupon 

You don't have to risk onecent to try the McGowan 
Curling Outfit in your own home. Simply sign and 
mail the coupon. When the postman brings your 
outfit, just pay him $1. 87, plus a few cents postage, 
and your marcel worries are at an end. After you 
have tried this magic Curling Cap and Curling 
Fluid for 5 days, if you are not perfectly delighted 
with results — if it doesn't give you the most beauti- 
ful marcel you ever had and improve your hair in 
every way— simply return the outfit and your money 
will be refunded without a single question. 
If you are tired of wasting your time and money on 
expensive beauty parlor marcels ; if you have trouble 
keeping . our hair marcelled and looking its best; if 
you want the beauty that rich, glossy, curly hair 
will bring, take Miss Harwood's advice and don't 
put it off another minute. Sign the coupon now and 
mail it right away. Remember, you do not risk a 
single penny. 



■COUPON- 



The McGowan Laboratories 
710 W. Jackson Blvd., Dept. 2$, Chicago 
Dear Mr. McGowan: Please send me your hair curl- 
ing outfit, which includes your newly invented Curl- 
ing Cap, and a bottle of Curling Liquid. I agree to 
deposit 52.87 (plus postage) with the postman upon 
its delivery. If I am not satisfied with results in every 
way I will return outfit to you within five days and 
you are to refund my money. 



Name.. 



■ Address 

\ Note • I f you expect to be out when the postman calls, 

■ enclose S3 with your order and the McGowan Curl- 

■ ing Outfit will be sent postpaid. 



%. 



When you write to advertisers please mention MOTION PICTURE MAGAZINE. 



•ip 

PAGtl 






What the Stars Are Doing 



A department for the fans, in which they are informed 
of the present picture activities of their film favorites 

Conducted by Gertrude Driscoll 





Adams, Claire — is honeymooning since becoming 
Mrs. Benjamin D. Hampton. Her latest release is 
The Devil's Cargo— F. P. L. 

Adoree, Renee — plays a jealous apache in Pari- 
sian Nights— F. B. O. 

Agnew, Robert — playing in The Square Peg — 
M. G. 

Alden, Mary — playing in The Siege — U. 

Alexander, Ben — playing in Pampered Youth 
— -V. 

Allison, May — will have an entirely different role 
than she lias heretofore enacted, that of a married 
women flirtatiously inclined, in The Interpreter's 
House— F. N. 

Astor, Mary — has been chosen by public vote to 
play the leading role in Enticement — T. H. I. 

Ayres, Agnes — is vacationing in Mexico with her 
newly acquired husband. Her latest picture is To- 
morrow' s Love — F. P. L. 

B 

Baby Peggy — latest release Helen's Babies. Dis- 
engaged at present. 

Ballin, Mabel — playing in Riders of the Purple 
Sage — W. F. 

Barnes, T. Roy — has been added to the cast of 
The Re-creation of Brian Kent — P. P. 

Barry, Wesley — playing in The Fighting Cub — 

A. E. 

Barthelmess, Richard — recently completed New 
Toys, a comedy of domestic life, with Mrs. Barthel- 
mess (Mary Hay) for his leading lady — I. P. 

Baxter, Warner — playing an important part in 
The Golden Bed, a Cecil De Mille production — 
F. P. L. 

Bayne, Beverly — playing in Who Cares — W. P. 

Bedford, Barbara — playing opposite Edmund 
Lowe in Trailing Shadows — W. F. 

Beery, Noah — playing in Contraband — F. P. L. 

Beery, Wallace — has just arrived in town from 
the Coast to play in Coming Thru — F. P. L. 

Bellamy, Madge — has just started work in The 
Parasite— B. F. S. 

Bennett, Alma — playing in A Fool 
and His Money— C. B. C. 

Bennett, Constance — has started 
work on her first picture under her new 
contract with F. P. L., The Goose Hangs 
High, to be directed by James Cruze. 

Bennett, Enid — latest release The 
Red Lily. She is vacationing in Italy, 
where her husband, Fred Niblo, is direct- 
ing Ben Hur. 

Blue, Monte — and Marie Prevost re- 
cently deserted the W. B. studio to get 
married — but not to each other. Now 
they are both back to work after their 
respective honeymoons and were as- 
signed to play the two leading roles in 
Recompense. 

Blythe, Betty — playing in Speed — 

B. F. S. 
Boardman, Eleanor — playing in The 

Summons — M. G. 

Bonner, Priscilla — cast as Sally May 
in Drucilla with a Million— F. B. O. 

Bosivorth, Hobart — playing in My 
Son—F. N. 

Bow, Clara — has rushed back to the Coast to lend 
her colorful presence to the cast of Free to Love — 
B. F. S. 

Bowers, John — playing in Lady of the Night — 
B. P. 

TJreamer, Sylvia — has recently become Mrs. 
Harry Martin. It is rumored she will desert the 
screen for a domestic career. Her latest picture is 
Women and Gold — G. P. 

Brent, Evelyn — plays a dual role of a society 
woman and a thief in Midnight Molly — F. B. O. 

Bronson, Betty — recently completed playing 
Peter Pan for F. P. L. 

Brook, Clive — playing Solomon in Declasse- 



Bums, Edward — has returned to the States from 
his visit abroad. He will be seen in The Redeeming 
Sin shortly — V. 

_ Busch, Mae — has been cast as an American so- 
ciety girl who seeks a thrill in the Paris underworld. 
She will display a variety of fashionable gowns in 
The Triflers—B. F. S. 

Butler, David — playing in Trapped in the Stiow 
Country — W. B. 



Calhoun, Alice — will be seen as Isabel Minafar 
in Pampered Youth — V. 

Carey, Harry — playing in Beyond the Border — 
P. D. C. 

Carr, Mary — playing Drucilla, an elderly woman 
who is a charity patient in an old ladies' home in Dru- 
cilla with a Million — F. B. O. 

Chadwick, Helene — playing Betty Jo in The 
Re-creation of Brian Kent — -P. P. 

Chaney, Lon — plays the role of the Phantom in 
the mystery melodrama, The Phantom of the Opera, 
which has as its grotesque setting the underground 
tunnels of Paris. There are over three thousand ex- 
tras employed in this production — U. 

Chaplin, Charles — playing in Chilkoot Pass. 

Chaplin, Sydney — is busy selecting lace mitts, 
corkscrew curls, etc., as part of his wardrobe in 
Charley's Aunt— A. C. 

Clifford, Ruth — recently completed work in 
A Husband's Secret — F. N. 

Cody, Lew — playing a different kind of villain in 
The Dixie Handicap — M. G. 

Collier, Buster, Jr. — playing a neglected son 
brought up on money instead of love in Playthings 
with Souls— F. N. 

Colman, Ronald — recently finished work in A 
Thief in Paradise— F. N. 

Compson, Betty — playing in New Lives For Old. 
a story concerning a famous dancer who sacrifices 
love and reputation for her country's sake. — F. P. L. 

Coogan, Jackie — latest release The Rag Man — 
M.G. 

Corbin, Virginia Lee — playing in The Cloud 
Rider— F. B. O. 

Cornwall, Ann — playing the feminine lead oppo- 



Davies, Marion — playing the part of Mamie in 
Zander the Great— C. P. 

Daw, Marjorie — has returned to California to 
play in 0«e Year to Live — F. N. 

Day, Shannon — playing in The Star Dust Trail — 
W. F. 

Dean, Priscilla — playing in Viennese Madness, a 
society drama with an Austrian background — 
P. D. C. 

De la Motte, Marguerite — is visiting New 
York for the first time in her life. While she was in 
town she was offered the leading r61e in Lady of the 
Night and has accepted it — B. P. 

Dempster, Carol — is disengaged at present. Her 
most recent release is Isn't Life Wonderful — D. W. G. 

Denny, Reginald — playing in the final scenes of 
California Straight A head — U. 

De Roche, Charles — playing in Madame Sans- 
Gene, which is being filmed in France. The entire 
cast with the exception of Gloria Swanson and Mr. 
De Roche is made up of French stars — F. P. L. 

Desmond, WiHiam — playing in Red Clay — U. 

De Vore, Dorothy — playing in Who Cares — 
W. P. 

Dexter, Elliott — plaving in Capital Punishment 
— B. F. S. 

Dix, Richard — has been cast as an Englishman 
in None But the Brave — F. P. L. 

Dove, Billie — has just started work in The Air 
Mail which is being directed by her husband, Irvin 
Willet for F. P. L. 

DuPont, Miss — playing in Off the Highway — 
R. P. 

Dwyer, Ruth — has been chosen to play the fem- 
inine lead opposite Buster Keaton in Seven Chances 
— M. G. 

E 

Earl, Edward — playing in Her Market Value — 
P. D. C. 

Edeson, Robert — has been cast for an important 
role in One Year ioLive — F. N. 

Ellis, Robert — playing in Capital Punishment — 
B. F. S. 

Evans, Madge — recently completed 
the leading feminine role in Classmates — 
I. P. 



H 



UXDREDS of inquiries reach this office every 
week, from movie fans all over the country, ask- 
ing for information about the nezv pictures their 
favorite stars are making. In consequence, we have 
opened this department, which henceforth zvill be one 
of the regular features of the magazine. We give 
information that is accurate when we go to press, 
but changes may occur in the time that elapses while 
the magazine is being printed and distributed. A key 
to the abbreviations zvill be found on page 126. 



(ho 



site Douglas MacLean in Introduce Me — A. E. 

Cortez, Ricardo — playing in The Spaniard — 
F. P. L. 

Crane, Ward — is temporarily deserting his villain- 
ous tactics to appear as leading man in Viennese 
Madness— P. D. C. 

D 

D'Algy, Helen — playing Olga, a Russian artist, in 
.4 Man's World— M. G. 

Dana, Viola — recently completed her role as Pan- 
dora in As Man Desires — F. N. > 

Daniels, Bebe — has just returned from a short 
holiday and is busy selecting her costumes for The 
Crowded Hour—F. P. L. 



Fairbanks, Douglas — seems to be 
unable to decide just what sort of picture 
to produce next. The latest reports are 
that he will make a modern Spanish 
melodrama, part of the scenes to be filmed 
in Spain. His latest release is The Thief 
of Bagdad— -U. A. 

Faire, Virginia Brown — will be re- 
duced from five feet, two inches to about 
five inches, in order to portray Tinker- 
Bell a fairy in Peter Pan. Roy Pomeroy, 
wizard of screen magic, will perform this 
remarkable feat. 

Fawcett, George — will be seen as the 
old King in The Merry Widcna — M. G. 

Fazenda, Louise — has been added to 
the cast of Cheaper to Marry — M. G. 

Fellows, Rockliffe — plaving in De- 
classe— F. N. 
Ferguson, Helen — just started work in The 
Cloud Rider— F. B. O. 

Flynn, Maurice — playing in the third of his out- 
door productions, Breed of the Border — F. B. O. 

Ford, Harrison — playing the leading male role 
in Zander the Great — C. P. 

Forrest, Alan — playing in Pampered Youth — V. 
Fox, Lucy— appearing opposite Charles Jones in 
The Trail Rider— -W. F. 

Francis, Alec B. — playing in Capital Punish- 
ment— B. F. S. 

Francisco, Betty — playing opposite Charles 
Hutchinson in On Probation. 

(Continued on page 118) 



Advertising Section 



n ,.-.(mON PICTUR] 

01 I MAGAZINE 



I 



EARN EXTRA MONEY 



IN SPARE TIME 
AT HOME 



l : ''' >^£^?tr*Wf*— ■J 3 * 




Mrs. G. M. Choate, of Mississippi, 
at work in her spare time, surrounded 
by checks such as we send our workers. 



What Steber Checks 
Have Done For Others 
They Can Do For You 

Miss Mary Hitzcroth, of 
New York, wanted indepen- 
dence and found it! Con- 
stantly afraid of losing her po- 
sition, she started Steber spare 
time work and liked it so well 
that she soon devoted her en- 
tire time to it. She now has 
no fear of losing her job. Her 
recent letter tells ns, "I am 
now independent and have a 
sure income. I feel well fixed for years to come. 
Your treatment is fair and square and I have 
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Miss Leona Fritz, of Ken- 
tucky, says that she cannot 
get along without this work 
and advises any woman who 
desires to earn more money to 
try the Steber plan. It took 
Miss Fritz only a few minutes 
to master our simple instruc- 
tions and she is now most en- 
thusiastic about the work. 






T.eger Verner, of Massachu- 
setts, was making only $15.00 
a week when he got in touch 
with us. He had four chil- 
dren to support and owed a 
doctor bill of S200.00. Within 
an hour after he received our 
instructions, he knitted his 
first pair of socks from the 
free yarn we furnished and 
sold them for $1.25. It was the foundation of his 
present comfortable situation, for he wrote us 
that within five months he was happy and out 
of debt. 

It took just twenty minutes 
for Mrs. W. C. Sapp. of Geor- 
gia, to make her first pair of 
socks. "I have made as many 
as 1 % doren in just a few 
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hardly miss the time I spend knitting/* 

Myron Green, of New York 
State, is another Steber spare- 
time booster. He lives on a 
farm and besides attending to 
twenty cows a day, he lias 
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$3.00 in a day from us. A re- 
cent letter tells us that he 
bought a car which he could 
not have had if he had not so 
occupied his spare time. 

Copies of letters from any of the above 
Steber workers will be sent upon re- 
quest. What they have done, you, too, 
should be able to do. Take their advice, 
don't delav. Act now! Sign Your Decla- 
ration of INDEPENDENCE Today! 

SEND IT NOW ! 





Let Us Send You Checks Like These 

— Under Our Five-Year Absolute Guaranteed Contract! 

If you wish to be financially independent, if you want money of your own, or if you 
are willing" to help your family have more of the comforts of life — do some work for us, in 
your spare time, sitting in your easy chair at home. Earn checks like those shown above. 

Thousands of men and women are helping us by doing light, fascinating work at 
home, and getting good pay for it, under our five-year guaranteed contract. With Steber 
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longing for. 



We Must Have More Workers 

Hut we need you. too. With Steber checks you 
can become independent; you can buy not only 
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some of the luxuries of life. Steber checks can help 
you buy a home, educate the children, travel some, 
or even have a car! 

Easily Learned Spare Time Work 

Adam Vrabel learned this work in fifteen min- 
utes. Mrs. Tostesen, of Chicago, has her own busi- 
ness. Hundreds have done as well, some even 
better. Read a few of their experiences and see for 
yourself. 

Our contract is simple and straightforward — a 
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knitting at home, and we buy all the standard 
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in standard homeknit hosiery. The work is done 
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chines. 

Spare Time Work; No Canvassing 

Some Steber earners work only a few minutes a 
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Reliable House; Sure Pay 

Our organization is 32 years successful, an old 
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We cannot tell the full story here. You must get 
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people write us in gratitude. Let us make your 
home happy, too. The folder is free for the price 
of postage. It tells the whole story, giving actual 
letters from Steber boosters. Get it and read it. 

Get Particulars Without Obligation 

Every day means that much time and money 
lost. The coupon can pave your way to Indepen- 
dence just as quickly as you send it. It has helped 
thousands and it should help you. Clip it, fill it 
in and send it today. Do it Now! 

THE STEBER MACHINE CO., 

507 Steber Building, Utica, N. Y. 



VALUABLE COUPON 



THE STEBER MACHINE CO., 
507 Steber Bldg., Utica, N. Y. 

Gentlemen: Here's 2 cents to cover mailing cost of free particulars on how I can turn my spare time into 
money. It is understood that it does not obligate me in any way. 



Send Free Folder to. 



Complete Address 

Note. — If you wish to see a sa,mple of the work that Steber earners do, just enclose fifty cents for complete 
samples of our regular SI. 00 guaranteed All Wool Health Hose. 2 pairs SI. 00. Satisfaction guaranteed, or 
money back. 



This Can Be YOUR Declaration of INDEPENDENCE! Sign It! 



i 



When you write to advertisers please mention MOTION PICTURE MAGAZINE. 



81 

PAfi 



Critical Paragraphs About Kfe^ Pictures 



(Continued from page 57) 




At the left is a 
scene from The 
Beloved Brute, 
a liist-rate -tor) 
of the open 
spaces 



At the right is 
a scene from a 
stereotyped jazz 
story, The Mad 
Whirl, which 
points a moral 
in a c c o r d a n c e 
with the pop- 
ular formula 
for such stories 




I 



the girl and the prize won by the made-over wastrel. Old stuff, 
but entertaining. 

The Mine with the Iron Door 

The popular Harold Bell Wright fiction is certain to become 
even more popular if all of it receives such excellent treatment 
on the screen as this story about a fugitive from justice who 
takes to the mountains and there wins over villains in several 
heroic encounters and over love in a romantic adventure with 
the beautiful Marta. Scenically, the offering is one of the most 
beautifully equipped Western melodramas we have had, and in 
point of acting the picture deserves a high rating, 

The best traditions of the Western have been observed, for 
here is movement, action and stirring encounters. The 
climax shows the hero riding into a storm to rescue 
the girl who seeks oblivion because she has 
been told she is a nobody. This intro 
duces some spectacular and thrill- 
ing scenes. Pat O'Malley and 
Dorothy Mackaill have the 
leading roles, and important 
parts are done by Raymond 
Hatton, Charlie Murray, 
Mitchell Lewis, Creighton 
Hale, Mary Carr, William 
Collier, Jr., and Robert 
Frazer. A stirring melo- 
drama, finely produced and 
splendidly acted. 

Gerald Cranston's Lady 

T" he marriage of conve- 

nience crops out here and 
serves as its sustaining point. 
It is a story (a familiar one, 
incidentally), of a self-made 
man who desires to become 
a factor in the social world, 
and who arranges a con- 
venient marriage with a 
titled woman to make him- 
self a social lion. The plot 
uncovers some conflict, tho 
there is too much of an even 
temper in its construction. 
If the original story carries 
sex appeal, this quality has 
been carefully eliminated in 
the picture version. 

So it develops a triangle — 
with a caddish admirer of 
the wife attempting to "gum 
up the works." There doesn't 

seem to be much excuse for the wife's airing her superiority in 
front of her husband. He. on the other hand, doesn't register 
humility. Love comes to both of them — when disaster threatens 
in the form of financial ruin. And when the couple art- separated 
for a time, both realize they depend very much on each other. 

82 
Gi 




Claire Windsor and Bert Lytell star together in a sophisti 
cated picture, Born Rich 



The story doesn't build much sympathy for the central figure. But 
it does present some tense dramatic scenes and is played with 
authority by James Kirkwood and Alma Rubens. 

Love's Wilderness 

Just a straight simple romance ignited with the spark of con- 
flict is offered in this Corinne Griffith picture. It deals with a 
girl brought up in seclusion who, in searching for love, marries a 
wastrel. The point is well established that she is completely 
ignorant of life, but that love cannot be denied when a girl is 
young and attractive. So when her patronizing lover absents him- 
self from the picture, propinquity lends its charm and she weds the 
ne'er-do-well. In pointing the characterization, the director has 
framed a perfect setting. The heroine is a girl of the 
old South. 

The story soon leaves its environment and 
plunges into melodrama — one fraught 
with tragic consequences, as the 
girl is forsaken by her hus- 
band whom she believes dead 
and also loses her baby. Then 
the absent lover reappears — 
rather conveniently — and re- 
stores her happiness. There 
is some coincidence when the 
couple encounter the first 
husband. But he pays for 
his life in the convenient exit 
arranged by the author. 
Just a fair offering — but 
one enhanced with -• the 
beauty and charm of Miss 
Griffith. 

Idle Tongues 

Celf-sacrifice provides the 
key-note of this story — . 
and while it may assume ex- 
aggerated pretensions, in the 
innocent victim's going to 
such lengths as keeping 
silent and assuming another's 
guilt, it manages to extract 
sympathy and heart interest, 
the elements apparently 
striven for by the sponsors. 
The characterization is truth- 
ful enough — and there is 
very little coloring of the 
plot. 

We look upon a gentle 
doctor going to prison for 
live years and emerging a 
figure of scorn. He returns to the village of his disgrace and 
lives to lift up his Ik ad. There is a girl who has unbounded faith 
in him — and eventually the doctor plays his trump card and ex- 
poses the real scoundrel of the village. He saves the community 
i 'ontinucd on page 121) 



Advertising Section 



„„-J0TI0N PICTURI 

01 I MAGAZINE 



What Price Would YOU Pay 
to Become a Movie Star? 

IF you were young and beautiful but unknown and poor, what sacrifices 
would you be willing to make to gain wealth and fame ? Would you 
be prepared to pay the price that Minnie Flynn paid ? 

Don't miss the magazine sensation of the year — 



t 



" The Rise and Fall of Minnie Flynn 

by 
FRANCES MARION 

(one of the highest paid scenario writers in the world — 
author of such film successes as "Tarnish," "Cytherea," 
"Potash and Perlmutter in Hollywood," etc.) 



» 



WITH the same keen insight that 
has made Frances Marion famous 
as a scenario writer she takes yon straight 
behind the screen into the studios — into 
the offices of the magnates — into the lux- 
urious homes of the great stars. She shows 



you the intrigues, the follies, the costly 
extravagances, the lavish entertainments, 
the gorgeous costumes, jewels, yachts, 
country homes and, with it all, the price 
that is often paid for what the world calls 
success. 




Get this big February issue 
at your newsdealer*. 



Here at last is a real novel 
of the movies written by the 
one person on the inside who 
knows how to put the truth 
before you. 

Begin 

"The Rise and Fall 

of 
Minnie Flynn' 

In 



.99 



Two Beautiful Art 
Features worth $3.00 

A full page reproduction in 
beautiful colors of P. Mon- 
sted's celebrated painting, 
"The First Thaw," as well 
as the fourth picture in the 
series by M. Leone Bracker 
illustrating The Ten Com- 
mandments as applied to 
modern life — also in colors 
—in this February issue. 



PICTORIAL REVIEW 



FOR FEBRUARY — 15c A 



When you write to advertisers please mention MOTION PICTURE MAGAZINE. 



COPY— ON SALE NOW 

83 
PAG 



I 



nMOTlON PICTURE" 
I1BI I MAGAZINE L. 




Advertising Section 




Edna Ferber's "SO BIG," starring Colleen 

Moore, the first candidate for "the best 

picture of 1925" 



l 



The Pick of Re- 
cent Pictures 

"Love's Wilderness"— Cor- 
inne Griffith, more fasci- 
nating than ever, in one 
of the strongest stories 
she has ever had. 

"Idle Tongue's" — A 
Thomas H. Ince produc- 
tion. Adapted from Jo- 
seph K. Lincoln's novel 
"Dr. Nye." Percy Mar- 
mont and Doris Kenyon 
have the leading roles. 

"Frivolous Sal"— 3. K. 
McDonald made this with 
a cast consisting of Eu- 
gene O'Brien, Mae Busch, 
Ben Alexander, Mitchell, 
Tom Santschi and Mil- 
dred Harris. 

"Born Rich" — Even a 
multi-millionaire can fall 
in love and stay there. A 
delightful comedy drama 
with Bert Ly tell and Claire 
Windsor. 



84 

G£. 



Above — Colleen Moore as 
Selina Peake, spins out a 
dream of the future as 
she toils through days of 
poverty on her tiny 
truck farm. 

Left — Ben Lyon, as the 
son, the hope of those 
long ago cabbage-patch 
dreams, is enmeshed in a 
romance that comes 
near to ending disas- 
trously. In the scene are 
Henry Herbert, Mr. Lyon 
and Rosemary Theby. 



Temperamental ? 
Not So Very 

FT'S sentiment more than 
temperament that is 
making this movie star lay 
down the law to her pro- 
ducer. She is leaving her 
job flat — but with reason 
enough. Someone she loves 
needs her; she alone can 
avert a tragedy, so — but 
that's the story of "Inez 
from Hollywood," Sam 
Rork's new picture of a 
movie actress. Anna Q. 
Nilsson has the title role, 
and Lewis Stone and Mary 
Astorhave important parts. 

Every advertisement in MOTION PICTURE MAGAZINE is guaranteed. 



Colleen Moore and 
John Bowers (as Dirk 
De Jong) in "So Big." 
Miss Ferber's story 
contains some of the 
most interesting 
characters ever 
brought to the 
screen . 




m 



WKat the Fans Write to tke Stars 



(Continued from page 25) 



of the little star, jumped at conclusions. It took weeks of 
explaining by the company before some of these good ladies 
would speak to their husbands. 
Letters asking help in get- 




ting into the pictures are 
numerous, usually accom- 
panied by a photograph of a 
solemn young man with his 
hair pasted into a pompadour, 
or a young woman with an 
arch smile, ringlets and hands 
clasped on a tulle- 
draped bosom. "I am 
not c o n c e i t e d," the 
opening lines assure the 
stars, "but I am con- 
sidered very beautiful 
(or handsome), and 
wherever I go people 
stare at me." Many 
conclude with the sim- 
ple request : "Send me 
my fare to Hollywood 
and I will come out at 
once." 



I ove letters make up a 
large percentage of the 
fan mail. There seems to be 
something about the screen 
which removes all repres- 
sions and inhibitions. Girls 
of high school age pour out 
their adolescent hearts with 
the utmost freedom, after a 
first preparatory sentence : 
"Dear So-and-So : I dont 
want you to think I am un- 
womanly and immodest, but 
I love you. I adore you !" 
After a picture in which he 
played a reckless and gal- 
lant role, a film juvenile 

recently had one thousand, four hundred and seven letters, all 
but five of them from women! 

Even the younger generation of stars is not exempt from love 
letters. Bennie Alexander has captured the hearts of the ninth 
grade, and every mail brings him primly written little letters 
beginning, with dignity, "Dear Mr. Alexander," and concluding, 
"Affectionately (Miss) Hazel Simmons (aged nine)," while 
down in one corner appears a row of arch XXXX's ! 

Begging letters contain every variety of hard-luck story known 
to man. Some, describing abject poverty, are written on ex- 
pensive paper, but the great majority are, no doubt, real enough. 
If picture stars sent a dollar to everyone who begged for a 
hundred dollars, they would be unable to tell where their next 
Rolls Royce was coming from. The women stars are asked for 
"the white satin evening gown you wore in the party scene in 
Devil's Gold. You have so many you wont miss it and I want 
to wear it to the Elks' Ball." 

Sometimes the writers urge no especial claim, but say calmly, 
as a Finnish fan wrote to Patsy Ruth Miller, "I have errand for 
you. I am much obliged if you subscribe to me money. I am 
poor. You are magnificent and famous artist. I am satisfied 
if you give fifty dollar. The sooner the better. I send picture. 
See my aspect ! My eyes are clear and honest. I am vacant 
man. Farewell !" The last statement seems to hold out a hint 
of bachelorhood as a lure for the fifty! 

Irene Rich, who has played neglected wife roles, gets many 
letters from wives telling their woes and asking for advice what 
to do when Friend Husband stays out nights or has a blonde 
stenographer in his office. Women's clubs frequently write this 
star, and, when Boy o' Mine ,was released, many youngsters in 
their teens wrote her as they might write their mothers, confess- 
ing their scrapes and telling their troubles. 

T*he letters the stars are really interested in are those in which 
.the writer criticizes, makes suggestions and praises some 
especial bit of work in a particular picture. Letters of this class 
are far more likely to be read personally than ones filled with 
adjectives and extravagant flattery. Fan mail readers are in- 
structed to save such letters and turn them over to the players, 
who are honestly anxious to better their work and to please their 
audiences. 

At the Pickford-Fairbanks Studio, the fan mail is carefully 



filed under headings, and the prevailing opinions watched like a 
weather-vane. In order to determine whether a certain picture 
will please Mary or Doug's audience, a hint that they are going to 

make it is published widely. 



In Japanese city squares there are 
booths where a professional fan letter- 
writer sits all day and covers rice- 
paper with polite compliments for 
Sun-Haired Mary Pickford, and Hon. 
Chaplin who walks in different 
directions 



Then the studio sits back 
and waits for the verdict to 
come in by mail. It was 
the fans who discouraged 
Mary from making Cinder- 
ella, as she had considered 
doing. 

"I have to play a drunken 
scene in this picture and I 
am scared to read my fan 
mail !" "I've always been 
a 'good' woman in my pic- 
tures — what will the fans 
think of me as an adven- 
turess?" "I was offered a 
'heavy' part, but my fans 
dont want me to do heavies 
so I turned it down. . . ." 
You hear the players say 
these things every day on 
the lots. Intelligent, con- 
structive criticism is the best 
kind of fan letter. But Rod 
La Rocque wishes that when 
people want to slam his 
work they would sign their 
names and addresses so he 
could write and ask them 
how to better it. 

The anonymous letter is 
the reptile in the fan mail, 
striking in the dark with 
poisoned fang. Sometimes 
it is written by a woman 
(probably spinster) upbraid- 
ing some film beauty who is 
successful in winning lovers 
on the screen, and calling 
her Old Testament names. 
Or perhaps it viciously pens personal insults about her appear- 
ance. Sometimes it is a criminal letter, hinting at blackmail, or 
threatening personal injury, such as three which have come _ to 
Alma Rubens lately in the same handwriting. Probably five 
per cent of the fan letters are anonymous. These are turned 
over to the stars' lawyers or the police. One woman, who had 
hounded Adolphe Menjou for a year, demanding that he return 
imaginary loans she had made him and claiming that he had 
broken an engagement to marry her daughter, was convicted 
and sent to prison. 

Letters claiming relationship are received by all the stars. The 
writers base their claims on family names, not realizing that most 
movie names are assumed. Edmund Lowe, however, was dis- 
covered by the English branch of his father's family, because 
of the family nose a cousin noticed when he saw him on the 
screen. And this fan letter, inviting him to visit Lowecroft, 
whenever he was in England, bore a crest with something ram- 
pant on a ground vert ! 

Letters announcing to the happy star that some infant has 
been christened "Conway Tearle Jones" or "Betty Compson 
Rosenbaum" and inviting him please to remit suitable godfather 
fee by return mail, are frequent. George Hackathorne was in- 
formed that he had a namesake in San Francisco, and the mail 
following brought its picture, held in mother's arms beside a 
table on which was prominently displayed a photograph of the 
star. The baby was a pickaninny, black as the ace of spades ! 

■"Pho fan letters all fall into more or less definite classifications, 
■*■ -each star's mail has an individuality. The Slavic melancholy 
in Pola's eyes has called forth many letters with the burden, "I 
know that you have suffered, so you can understand." Cross- 
eyed people write to Turpin ; one woman applied for the position 
of his sister on the screen, sending a picture of a pair of optics 
that double-crossed Ben's ! Ministers, college professors and 
millionaires write Harold Lloyd. 

Louise Fazenda seems to appeal to prisoners, and one gentleman 
sentenced to be hung wrote her such interesting fan letters that 
Louise circulated a petition to get his sentence commuted — and 
succeeded in doing so ! Old ladies write George Hackathorne, 
who has played so many forlorn boys, quote Scriptures at him 
and beg him not to make evil companions or get his feet wet! 
(Continued on page 114) 

85 

PAfi 



t 



am 

S 'Y 



-^MOTION PICTURF 
vl I MAGAZINE L 




'Clear out of here! 



Scott 



!'' 



t 



You're not go- 
ing home. You're 
going to Jersey 
with me, now — 
to get married !" 

"Goodness 
gracious," sighed 
Pat, falling hack 
on the cushions. 
"Billy, look 
quick! Out 
there !" 

When Billy 
looked, she quick- 
ly slipped out the 
opposite door 
into the street, 
ran to a corner, 
jumped into an- 
other cab, and 
went whirling 
home — safe at 
last. 

But not so safe 
as she thought. 
When she neared 
her house she 
heard all the 
sounds that usu- 
ally accompany a 
first-rate war. 

''Soak hi m, 
wop !" called an 
urchin. 

"Bean him, Big 
Boy !" bawled 
another youth. 

Pat peered out. 
There, on her 
own front steps, 
Morton and the 
Prince were 
fighting furiously. 

"Gee, here comes anudder guy 
howled the audience as Billy came sail- 
ing up the steps and plowed right and 
left into both combatants. 

Pat ordered the taxi driven around 
the block. She needed time to think. 
When she came back, the street was 
deserted. She asked one of the street loafers 

"Lady, de cops came and pitched dose guys 
Mebbe dey'll get six mont's." 

So Pat had to go to the 'phone and plead with Scott to release 
her lovers. 

"All right, Pat," he growled, "but it's the last time. If you 
get into another scrape with any man, I'll make you marry him !" 

It is dangerous to give novel ideas to a woman in love. At 
once Pat determined to get into a scrape, with the man, the one 
man. . . . And with her, determination and action were the 
same thing. 

So that was why Scott, yawning out of his bedroom the next 
morning, started back in surprise. On the couch in his library 
lay Pat, fully clothed and fast asleep. 

Scott was a fast thinker. It immediately flashed into his brain 
that Pat had thought she would compromise herself with him. 
So he went out hastily, slamming the door behind. Pat woke 
up with a start to see Scott, his hat and overcoat on, evidently 
just letting himself into his apartment. 

"Pat," he cried in pretended surprise, 
"have you been here all night?" 

"Y-yes," she whimpered. 

"Well, in that case," said Scott cheer- 
fully, "it's a good thing I spent the night 
at the club. But why on earth did you 
do it?" 

Pat sat up, her lips quivering. "You 
know why I did it. I love you ! I love you !" 

"Bosh!" said Scott hastily. "What you 
want is breakfast. Good-bye." 

But Pat, heart-broken and letting large 
tears roll into her coffee cup, was reassured 
from an unexpected quarter. 

"It's my private idea. Miss," whispered 
the butler, "that Mr. Warner's in love with 
you himself. And whatever he may say, 
he slept here last night. Excusing me for 
mentioning it, Miss, but I'm a man of ex- 
perience and I know the signs." 

So Pat resolved to try one more daring 

86 

Gt 



house'* 



Learning to 

(Continued from page 



for information. 
into de wagon. 




scheme. She took 
up the telephone 
and called Town 
Tattle. 

Two days later, 
she paused over 
breakfast to read 
in that chronicle 
of scandals: 
"Everyone is 
w o n d e r i n g 
whether a certain 
debutante is 
secretly married 
to her guardian, 
the president of a 
great trust com- 
pany. We sin- 
cerely hope she 
is, else how could 
we explain that 
she spent the 
night with him in 
his Park Avenue 
apartment last 
Tuesday." 

Even as she 
gloated over it. 
Scott came rush- 
ing in the door. 
"Pat, get your 
hat and coat ; ■ 
we're going to be 
married !" 

That night, 
Pat sat serenely 
triumphant in a 
filmy negligee, 
waiting for Scott. 
It seemed hours 
before his knock- 
sounded on the 
door, and she al- 
most shouted, "Come in !" 

Scott solemnly peered in, said, "Good 
night," and started to close the door. 
"Scott ! Scott !" she called, rushing 
to him. "What do you mean?" 

"Mean?" said the unruffled Scott. 
"Just this. I married you for the sake 
of your reputation. You aren't fit to be a real wife. You've been 
utterly selfish, and you haven't a real emotion in your body." 
"But I love you!" 

"You dont even know the meaning of love." 
Pat's eyes flashed with rage. "Now, Scott Warner, let me 
tell you- something. I wouldn't live with you if you were the last 
man in the world. I'm going where I'll never see you again. 
Get out of my way !" 

The Berengaria was beating against a head wind two days out 
■*■ from the French coast. Pat leaned on the rail, sadly thinking 
of Scott, of the wistful little note she had left him, admitting 
that all his accusations were true. . . . 
"Hello, Pat!" 

"Billy Carmichael ! What are you doing here?" 
"Going to Paris — I mean Hell," said Billy melodramatically. 
"I cant stand the idea of your being married to Scott." 
"But I'm on my way to Paris for a divorce." 

"Then — then " appealed Billy, "would 

you — could you marry me? If you dont 
I'll — -" 

Pat's face was very solemn. "Billy, I'll 
never love anyone but Scott, but if you 
want what's left of my life, you can have it." 
Once arrived in Paris, Billy began to 
cheer up. He took his troubles to the 
cabarets, and found that it did them good. 
But Pat was far too down-hearted to join 
him. 

One night she was sitting forlornly in 
her hotel room, thinking of Scott, when a 
great knock sounded on the door. It was 
the knock of someone in a hurry. 

She opened the door to be caught in 
Scott's arms. "Darling ! Darling ! Dar- 
ling!" he whispered. 

"B-but — but," cried Pat. clinging to him, 
"you dont love me !" 

"Dont I?" _aid Scott, proving it with a 
(Continued on page 101) 



L 



ove 



41) 



Advertising Section 



OTION PICTUR 

MAGAZINE 





Martha Washington Initial 
Dinner Set 



110 



With Order 



No picture can do justice to this dinner set. 
I want you to see it on your own table. I want 
you to know the Attractiveness ol its Aristo- 
cratic Colonial Shape, the Beauty of its refined 
Gold Border and Orange band. I want you to see how the big, 
wide, brilliant gold handles enrich and beautify the set. Then I 
W>fl"F(f T7<S want you to know the Pride of Possessing a high-class dinner set 
M J.Mli'OEiij that has your initial on every piece. I will send you the entire set, 
on 30 Days* Free Trial. The picture shows, in reduced size, the attractive initial 
design. This design is in 7 harmoniously blended colors and gold. SUPREME 
QUALITY. Everything that high class materials, manufacturing skill, art and 
design can do, has been done to make this beautiful Dinnerware a Remarkable 
Bargain. All the decorations; the initial, the wreath, the scroll of roses in natural 
colors, the gold edge, and the inner line of orange, are absolutely put on to stay. 
We guarantee against breakage in shipment. Replacements or additional pieces 
of this pattern may be procured from us for a period of three years. Each 
piece wrapped separately in tissue paper. 



Former Price $44.75 



Special Sale Price $29.95 

30 Days 9 Free Trial — Easy MomthSy Payments 



This dinner set formerly sold for $44-75 ^nd without 
You would have been satisfied to pay this price for the 
this set alone. To these points of excellence I have 
added these additional features: The exclusiveness 
of your own initial on every piece; the lavish beauty 
of seven colors and Gold in the decorations; the dis- 
tinctively handsome, big, wide, bright, gold 
handles. I have also added a daintily colored floral 
spray which Is opposite 
the initial design on 
every piece. 

I want to send you the 
no pieces on 30 Days' 
Free Trial to use as your 
own. If yoursatisfaction 
is not complete, return 
theset. I will refund your 
first payment and all 
freight charges. The trial 
will not cost you a penny. 
Be careful to state the ini- 
tial you desire. Order No. 
S A 2920. Price $29.95. 
Terms: $1 .00 with order, bal- 
ance $2.50 Monthly. 

NATHANIEL SPEAR 
President 



the Free Table Cloth and Napkins. 
High Quality and Exquisite Design of 




BIG FREE BOOK! 

Bargains that will Surprise You — 
Prlcos that Please — The Smallest 
Monthly Payments — THE LONGEST 

TIMETOPAY-Thcsearejustafewcf 
the many advantages of dealing with 
Spear. Send for My Big Free Catalog 
today. I-earn about my MONEY 
OACK BOND, the Fairest, Squarest 
Guarantee; the guarantee that puts 
all the risk: on me, and none on you. 
Sec the Thousands of Illustrations 
that will aid you in selecting your 
newFurniture, Furnishings, Carpets. 
Rugs, Stoves, etc. Remember 1 sell 
everything for the Home on the Eas- 
iest Terms. Before you buy anything 
anywhere Consult my Free Book. 
Write for it today. A Post Card 
will bring it.T 



THE 110 PIECES 

12 7^4-in. Pie or Lunch Plates, 12 9}i-in. Dinner Plates, 12 
6,'4-in. Bread and Butter Plates, 12 1%-in. Soup Plates, 
12 Cups, 12 Saucers, 12 5J 2 ->n. Dessert Dishes, 12 6-in. 
Oatmeal Dishes, 1 Covered Vegetable Dish (2 Pieces), 1 8-in. 
Open Vegetable Dish, 1 10' '-in. Meat Platter, 1 13J-£-in. 
Meat Platter, 1 93^-in. Round Salad Dish, 1 Sauce Boat, 
1 Sauce Boat Stand, 1 Gravy Bowl, 1 Covered Sugar Bowl 
(2 Pieces), 1 Cream Pitcher, 1 6-in. Pickle Dish, 1 7-in. 
Butter Dish. 

171} IT F 1 Table Cloth and 
rHXjJ£j six Napkins 

If you will send your order QUICKLY, I will send you 
Absolutely Free a Table Cloth and 6 Napkins, all nicely 
hemstitched. These articles are made of high class Full 
Bleached Satin Finish Cotton Damask. The design is at- 
tractive and the Set is of an unusually good quality. The 
table cloth is attractively hemstitched. It is bigger and of a 
better quality than is usually found in similar sets; it meas- 
ures 58x69 inches — a very practical size and shape for any 
style of table. The nankins are hemstitched to match the 
table c'oth and are also larger than usual; they measure 
17;^ x liy 2 inches. 



■ nasisjiisiitiiixiiiiii 

□ Spear & Co., Dept. M-301, Pittsburgh, Pa. 

■ Send roe the 110-piece Initial Dinner Set, also the 

Free Table Cloth and 6 Napkins. I enclose SI. 00 p r | n f .,|;,i„l, in 

B firstpayment. It is understood that if at the end of r ;' m •""V".'/. '" 

the 30 days' trial I am satisfied. I will send you $2.50 D0X the initial 

■ Monthly. Order No. SA2920. Price $29.95. Terms: „„.. rffxiirp 
$1.00 with order, $2.50 Monthly. Title remains with * uu """ c 

■ you until paid in full. Send me your Big Free Cata- 
log also. Please print or write name and address plainly. 



Name Occupation. 



R. F. D.. Box No. or Street and No. 



SPEAR & CO. 



Dept. M-301 
Pittsburgh, Pa. 



■ Post Office State 

B If your, shipping point is different from your post office fill in line below 



© 1926, Spear & Co. 



Home Furnishers for the~People of America 



When you write to advertisers please mention MOTION PICTI'BE MAGAZINE. 



_ Send Shipment to 

FREE S If you want the Free Catalog Only , Send No Money, put an X heref - ] 
m catalog! and write your name and address plainly on the above lines! J 

87 
PAS 



i 



HMOTIQN PICTURE 
118)1 I MAGAZINE *■ 




Advertising Section 



U 



99 



Fm proud of 
you, Tom ! 

"I always knew you would get ahead 
if you only tried. And the minute you 
started studying with the I.C.S. I knew 
it wouldn't be long before you'd be 
coming home, just as you have to-day, 
to tell me of a raise in salary. I'm 
proud of you, Tom — prouder than I can 
tell you. The firm might never have 
thought of you for this promotion if 
you hadn't decided to study just when 
you did." 

HOW about you? Are you always going to work 
for a small salary? Are you going to waste 
your natural ability all your life? Or are you going 
to get ahead in a big way? It all depends on what 
you do with your spare time. 

Opportunity knocks — this time in the form of that 
familiar I. C. S. coupon. It may seem like a little 
thing, but it has been the means of bringing better 
jobs and bigger salaries to thousands of men. 

Mark and mail it to-day and, without cost or 
obligation, learn what the I. C. S. can do for you. 

j" INTERNATIONAL CORRESPONDENCE SCHOOLS ~ 

Box 6566-B. Scranton, Penna. 
Without tost or obligation on my part, please tell me 
how I can qualify for the position or in the subject iefora 
which I have marked an X: 

BUSINESS TRAINING COURSES 

□ Business Management □ Salesmanship 

□ Industrial Management □ Advertising 

B Personnel Organization D Better Letters 

Traffic Management D Show Card Lettering 

□ Business Law □ Stenography and Typing 

□ Banking and Banking Law □ Business English 
DAccountancy (includingC.P.A.) DCivil Service 
ONicholson Cost Accounting DBallway Mail Clerk 

□ Bookkeeping □ Common School Subjects 

B Private Secretary □ High School Subjects 

Spanish □ French □Illustrating 

TECHNICAL AND INDUSTRIAL COURSES 



DElectrical Engineering 

Zl Electric Lighting 

3 Mechanical Engineer 

H Mechanical Draftsman 

3 Machine Shop Practice 

JRallroad Positions 

UGas Engine Operating 

3 Civil Engineer 

3 Surveying and Mapping 

^Metallurgy □ Mining 

3 Steam Engineering Q Radio 



□ Architect 

□ Architects' Blue Prints 

□ Contractor and Builder 

□ Architectural Draftsman 
\j Concrete Builder 

□ Structural Engineer 

H Chemistry □ Pharmacy 
Automobile Work 
Q Airplane Engines 
D Agriculture and Poultry 
Q Mathematics 



















Street 












3-6- 


24 






























Persons residing in Canada should send this 
International Correspondence Schools Canad 
Montreal, Canada 


coupon to the 
'an. Limited, 




I 



Sizes 
lor all 
types 
ol noses 



Free 

demon- 
stration 
V desired 



/miTft HOSE dPJUSTER 




The GENUINE (Patented) 
Shapes while you sleep. Rapid, pain- 
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UINE and most COMFORTABLE 
NASAL SUPPORTER. Absolutely 
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Booklet, "Nature's Way to 
HaDDineaa." 

TheAIIITftCo. 



Gold Medal Dept. 332. Anita Buildln 
Winner Feb. '23 6SS High St.. Newark. N. 




BEFORE.-AFTEB 




"*\ 




Kenneth Alexander 



Norma Poses for Her Portrait 

How a great movie star appears to Ker favorite pkotograpker 
By Kenneth Alexander 



GOOD MORNING," said Norma 
Talmadge, gaily, as she stepped 
into my studio with the sunshine, 
for a Monday morning session of posing. 

Norma had recently arrived in New 
York, and was leaving for Europe at the 
end of the week — quite indefatigable, as 
usual. So, of course, I was tremendously 
flattered — why not? Every photographer 
in the land wants Norma to pose for him. 
Fifth Avenue studios vie with each other 
in inducements to get her before their 
cameras. They would rather have her 
photograph above their name, they will tell 
you, than that of a Vanderbilt or 
an Astor. In advertising value, 
she equals the Prince of 
Wales. Besides, Norma 
poses so charmingly. 

Contrary to popular 
opinion, many stars are 
difficult to pose. Once 
they are beyond the 
call of the director, 
they are apt to grow 
stiff and self-con- 
scious, have to be 
coaxed to smile at the 
birdie. But not so 
Norma Talmadge. 
She seems to catch in 
advance the mood which 
the photographer wishes 
to interpret, to fall into it 
with one gesture, and every- 
thing goes like clockwork. It 
went that way this morning. 

There were many exposures in 
many different costumes— costumes of be- 
wildering beauty which Norma wears so 
well. There were evening gowns and 
wraps which might have graced a princess 
royal, street frocks and sport frocks, with 
hats and without. There were sittings 
with wigs and in her natural head-dress, 
but the happiest effects we achieved were 
with a group of scarfs — delicate feminine 
things of indescribable design with all the 
colors of a mountain sunset. A dozen or 
more there were, no two of them alike. 

One I used as a background; another I 







draped over her shoulder ; this one fell 
about her neck as gracefully as tho the 
wind had dropped it there. I needed to give 
her only a suggestion — to droop the shoul- 
ders so — to glance so — to hold the hands 
so. 

All lightings fall restfully and easily in 
my studio, so there was merely the insert- 
ing of a plate, the click of a shutter, then 
another — the slightest change in expression 
which produced quite a different effect, and 
behold — here was a brand-new Norma, 
quite a different picture from that on the 
previous plate ! 

I worked fast, with much to do 
and very little time in which 
to do it. 
"You get tired of posing, 
perhaps?" I asked her. "A 
bit bored with having 
your portrait taken?" 
"A wee bit, at times." 
replied Norma. "I al- 
ways fight to get out 
of it ; but once I am 
cornered and have to 
do it, strangely 
enough, I always en- 
joy it. Now, this 
morning has passed 
very pleasantly." 
I acknowledged the 
compliment with a bow. 
I didn't tell her we had 
already been working two 
hours, for two hours with 
Norma Talmadge is altogether 
too short. We chatted a little to 
bring the right expression to her face. 
She told me about The Lady and Secrets, 
in both of which she had played the part 
of an old lady. 

"I am tired of grandmother roles," she 
said. "It is a great relief to take off the 
gray wig, wipe the wrinkles away, and find 
I am still young." 

Young? Yes, she is gloriously, beauti- 

tifully young, at the very zenith of her 

career, at that place in a woman's life 

where strength combines with beauty to 

(Continued on page 127) 



88 



Every advertisement in MOTION PICTURE MAGAZINE is guaranteed. 



Advertising Section 



DEMOTION PICTURR 

"1 




Receiver 
and Loud 
Speaker in 
Combina- 
tion Cabinet 

of Solid 
mahogany 




N0it»O$ei 



WRITE TODAY for full particulars of this most exceptional offer. Marshall Sets embody the very latest improvements 
known to radio. The wonderful new principle involved is proving the sensation of the 1924-25 radio season. Zero 
Coupling — the problem which radio engineers have been working on for years — has at last been solved. As a result, the 
Marshall has no need for neutralizing condensers or other make-shift methods of avoiding internal oscillations which invariably 
reduce efficiency. The Marshall Tuned Radio Frequency Receiver brings to radio a new degree of musical quality. Its 
selectivity will delight the experienced radio operator. Yet it is so easy to tune that the novice will handle it like an expert. 



itS— 2 Weeks FreeTrial 



This is the remarkable offer we are prepared to make you! Two weeks to prove that the outfit you select is everything we have said for it. If it 
doesn't make good our claims, back it comes, and your deposit will be cheerfully refunded. But if it fulfills all your expectations, you may pay for 
it in easy monthly installments. You don't risk a cent when ordering from us. You must be satisfied, or we don't do business. Is it any wonder that 
radio buyers the country over are rushing to take advantage of such an offer? If YOU are interested, figure on getting your order in early, while 
prompt shipment can be made. Everyone predicts a serious shortage of radio supplies this season. Send for full particulars today. 

Beautiful Solid Mahogany Combination Send Coupon for Special Offer! 



Compare the beautiful Combination Cabinet, pictured above, with the usual radio box 
and horn. Here the receiver and Loud Speaker are contained in a single handsoma 
cabinet. Or, if you prefer, we also have the Receiver in a separate ceoinet of Che 
same design. These cabinets are the work of a master designer— fashioned of solid 
mahogany. They will harmonize with the furnishings of the finest homes. In spite 
of the extra value, these Marshall sets are surprisingly low in price. Compare them 
with others which sell for cash. Then remember you can order a Marshall outfit on 
two weeks' free trial and pay for it on very easy terms. 

Complete Outfits If Desired 

In buying from Marshall, you have the choice of a set complete with all 
accessories, or the set alone. You have choice of dry cell or storage battery 
outfits. Unless you already own the accessories, you can buy them from us 
at less-than-market prices, with your set, on easy terms. Your outfit will 
come all ready to set up and operate within a few minutes, — saving time and 
trouble — and saving money, too. 

MARSHALL RADIO PRODUCTS, INC. 

Marshall Blvd. and 19th Street, Dept. 12-69 Chicago 



If you have any idea of buying a radio set this year, don't let this 
chance slip u?. Our terms and liberal guarantees have set a new 
pace in the radio business. The low prices we will make you on 
a 3, 4, or 5 tube Marshall set will surprise you. A letter, postcard, 
or just coupon will do. But send it today. 

We also have a most favorable offer for radio dealers. Write. 



\ Marshall Radio Products, Inc. 

Marshall Blvd. and 19th St.. Dept. 12-69 Chicago 
5 Please send me your special offer price, terms and full description of Marshall Radio 
: Outfits. Though I may change my mind on receiving your proposition, my prefer- 
: ence now is for a: 



.3 Tube 



.4 Tube 



.5 Tube (Please check) 



• Name 

— : Addreit. 



TVhen you write to advertisers please mention MOTION PICTURE MAGAZINE. 



89 
PAG 



t 



MOTION PICTURF 
I MAGAZINE L 



Advertising Section 




SOMEDAY smiling fprupb 
will escort you |o 
the Famous 
"COCOANUT £#OV 

THE c^MBASSkpQR 



LOS ANGELES,' 



~J, 



fierce, beneath an azi|i,£ 
sky, graceful palms, arid twinkling 
lights you will dance 
never danced bcrorei 
mosr_> alluring of d|aJnce-> 



■m. -. . 55 ylcl 



:o j t Jic 



. . . You arc sure to usee many 
the world's most famous MOTlC Hj 
PICTURE STARS: 



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Picnics, and every, iputdoor 

liine in any night i/L K\,X 
Cocoanut Cjroctj Orchestra^ oi 

concerts. 





Mary Pickford and Douglas Fairbanks with two of the J'aste-i 

racing clogs in the West, Stella II and Tuck o' Drum. They 

attain a speed of thirty-five miles an hour 



On trie Camera Coast 

(Continued from page 71) 



couldn't then send him back to New York 
again. Not that he has anything against 
that enterprising little town. The trouble 
with him is getting there. 

Monte is six feet three inches tall ; and 
riding in a Pullman car is acute agony for 
him. The only way he can travel with 
any comfort at all is to take a lease on 
the Pullman drawing-room compartment 
and sleep on the floor. Even when he 
gets to New York, it isn't much better. 
Hotel rooms aren't built with that kind of 
bed. He either has to wind himself around 
in a circle like a dog or drape his feet 
over the foot-boards. At home he can be 
comfortable, for he has had an eight-foot 
bed made to order. 

"Hollywood was electrified last week 
by the unexpected marriage of June 
Mathis, the scenario writer who discovered 
Rudolph Valentino and wrote the script 
for The Four Horsemen. The bridegroom 
is Sylvano Balboni, a young Italian who 
has been a cameraman in Hollywood. He 
is said to be of a distinguished Italian 
family. He and Miss Mathis met while 
on the way to Rome last spring where 
both were to take part in the making of 
Ben Hur. When Miss Mathis resigned 
from the production, Signor Balboni re- 
signed also. It appears that, all the time 
the theatrical papers were filled with 
rumors of Miss Mathis' engagement to 
George Walsh, she was under verbal agree- 
ment to become Mrs. Balboni. They were 
married in the St. Cecilia Chapel at the 
Mission Hotel in Riverside. Mrsi Balboni 
will continue her work as a scenario writer. 

Just before Thomas H. Ince died he very 
graciously loaned his star scenario 
writer, Bradley King, to Corinne Griffith 
to write the script for Declasse. It seems 
likely now that the transfer will become 
permanent. There is very little prospect 
of the Ince studio going on with picture- 
making. Mrs. Ince has taken an office 
at the studio and is personally supervising 
the completion of several unfinished pic- 
tures. I understand that the studio is for 
sale. Among others negotiating for its 
possible purchase is Hunt Stromberg, the 
young publicity man who, in three years, 
lias broken into the front rank of pro- 
ducers. 



Mr. luce's will was made public the 
other day. He left an estate valued ai 
more than $4,000,000. He had built this 
fortune up from nothing in about fifteen 
years. He told me once that, even after 
he had earned this large fortune he never 
could cross on the ferry from New Jersey 
and see the lights of New York without 
a feeling of dread. So many times those 
lights had meant coming home, broke, from 
a road show that- had collapsed. 

£*harlie Chaplin's wife probably wishes 
now that she had adopted a less sensa- 
tional marriage ceremony. Since the re- 
turn of the couple from Mexico, the re- 
porters have been trying to read a sensa- 
tion into the event. One of the most em- 
barrassing sequels was the descent of the 
truant officers upon the household. The 
law relating to compulsory education in 
California is very rigid. When it was 
discovered that Mrs. Chaplin is but sixteen 
years old, the truant officers swooped 
down and demanded to know why she was 
not in school. Marriage or no marriage, 
they told her she would either have to 
return to school or make a solemn agree- 
ment to study at home for a certain num- 
ber of hours a day, under the guidance 
of a teacher. She adopted the latter 
course. In the one interview she has given 
out since the marriage, Mrs. Chaplin says 
the only reason they went to Mexico for 
the wedding was to escape the usual star- 
ing eyes, fainting relatives and tears. 

TJetty Bronsox celebrated the comple- 
tion of Peter Pan by giving a big 
Christmas party to the newspaper and 
magazine writers of Hollywood, the as- 
sistant hosts being Jesse L. Lasky and 
Herbert Brenon, the director. There is 
some prospect that little Miss Bronson 
will be put out in a screen version of 
The Little French Girl. 

The last "shot" of Peter Pan released 
Charles Eyton. the Lasky studio manager, 
for a belated vacation trip with his wife, 
who is known on the screen as Kathlyn 
Williams. She left several weeks ago for 
a trip to Japan, China and India. Mr. 
Eyton will go around the other way- 
thru Europe and Suez Canal— and meet 
her in India. 

(Continued on page 103) 






C/90 



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92 



Later she contrived to get Eugene 
apart and make a hurried appoint- 
ment for dinner 



Whose Hand? 

{Continued from page 51) 

us," he hurried on. "My advice was from 
the heart, and yet you got as mad as if 
I'd tried to injure you." 

"I'm no longer mad. I acknowledge 
your good intentions," she replied with 
faint sarcasm. 

Stoner's face lighted up. "I've been 
thinking since," he said, "that it mightn't 
do any harm to make a cautious investiga- 
tion of your spook. Will you have dinner 
with me? Afterward, I could help you 
hunt thru your room for clues." 

"Thanks so much, but I have another 
engagement," she asserted coolly. 

"As usual !" 

"You exaggerate. But in any case, my 
mystery couldn't be on the cards for to- 
night. Second thoughts are not best. You 
ordered it dropped, and that's that." 

It scarcely surprised her that Stoner, 
quivering with repressed wrath, so manipu- 
lated matters for the rest of the day that 
her scene was not called. Dressed as 
Conchita, she stood on the side lines and 
watched the filming of secondary shots. 
It was just as well, she decided, that the 
creating of her first important role had 
been postponed. She was in no mood to 
do herself credit. Late in the afternoon, 
she contrived to get Eugene Valery apart 
and make a hurried appointment with him 
for dinner. They left the studio sepa- 
rately, and met in New York at the Times 
Square station of the subway. 

The cameraman was intent upon fol- 
lowing up his advantage of the evening 
before. But he encountered a Margot 
whose mind was far removed from any 
dalliance with romance. 

"No, Gene, no!" she protested at his 
first lover's word. "I can give myself 
satisfactorily to only one thing at a time." 

"That hand that put out the match?" 

"What else? All day I've kept from 
telephoning home, so as not to take the 
edge off tonight. Let's eat quickly, then 
find out if there have been any develop- 
ments." 

The boy swung eagerly and smoothly 
into her mood. 

They reached her house on Forty-sixth 
Street a little after eight o'clock, and 
stepped instantly into the atmosphere of 



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suspicion and jangled nerves they had left 
behind them in the morning. Margot's 
room was still patrolled by Quinlan and 
Boyle. Mrs. Bellew hovered about them, 
bubbling over with theories that no one 
cared to hear. An addition to the company 
presented himself, in the person of Cor- 
nelius Hart, plain-clothes detective from 
Headquarters. The last-named made the 
impression of being cold, shrewd, a trifle 
intolerant. He had brushed aside reports 
at second-hand. He had been waiting for 
her, and so for the third time Margot 
found herself in the witness box. 

Hart listened closely and occasionally 
prodded her with questions. "Miss An- 
struther," he said at last, "I think you 
have a very powerful imagination." 

"But the policeman saw what I saw," 
she protested. 

"Sure. Boyle's an Irishman. They be- 
lieve in the banshee where he comes from. 
He heard your story, and was all set for 
something to happen." 

Boyle growled indignantly, but did not 
speak. 

"The difficulty in accepting the arm you 
tell about is that it was attached to no 
body," went on Hart. 

"Isn't it a problem worth solving, that 
an arm, apparently attached to no body, 
did certain definite things ? Put it that 
way." 

Hart shrugged. "This room has been 
searched over and over again. There are 
no tracks of a person having hidden under 
the bed." 

"Yet I found a hollow in the nap of the 
carpet, where a finger-tip pressed down 
the match," said Margot. 

"Maybe. It's fluffed out now. I can 
only say there isn't the slightest evidence 
that a crime was committed, or attempted. 
So it doesn't seem to concern the police 
department." 

"Then, you are finished with the case?" 

"Not quite. Sleep elsewhere tonight, 
and I shall leave Quinlan to guard this 
room. If he has nothing to report to- 
morrow, we'll be thru." 

It was late before Hart and Boyle ac- 
tually decided to go, and Margot, overcome 
by fatigue, dismissed Eugene also. She 
went down to the basement, where Mrs. 
Bellew had offered her a cot. Mechani- 
cally, she set about combing her thick, red 
hair, preparing for the night, while she 
closed her cars to the tedious chatter of 
the landlady. She could not shake off the 
premonition that the mystery would soon 
take a new and fantastic turn. Yet she 
hoped for a few hours of rest, now — 
now, when she needed it so grievously. 

The discovery that she had forgotten 
her pajamas forced her to appeal to Mrs. 
Bellew. 

"I've got to run up-stairs for something," 
she said. "Will you go with me? I'd 
rather not go into the room alone, with 
that policeman there." 

"Of course, dearie, of course. He's a 
hard-looking cop, I'll say." 

They climbed the stairs and knocked 
lightly. When Quinlan let them in, they 
stood for a moment with him in the dark, 
while Margot explained her errand. "Seen 
anything?" she questioned softly. 

"No, Miss," he whispered back. 

The next moment, he stiffened, and 
threw his arm out to bar their way. "Shh! 
Shh !" he admonished tensely. 

A creaking, scraping noise reached them 
from the fire-escape outside the main win- 
dow. Then a human shadow loomed upon 
the drawn blind. Someone was tamper- 
ing with the catch. The window vibrated ; 
at last was raised. An indistinct figure 
crouched hesitatingly, before it stepped into 
(Continued on page 120) 



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Another scene from Tar- 
nish, with May McAvoy 

Tke Stor-p of My Life 

(Continued from page 34) 

Yorkshire peasants and Whitechapel cock- 
neys. The play was a Tagore drama, I 
remember, and I was an Indian passenger 
who heralds the arrival of the beauteous 
princess or something of the sort — not a 
severe test of dramatic ability, but Miss 
Ashworth was encouraging- and introduced 
me to Iter theatrical friends. 

Meanwhile, my uncle, a merchant who 
had lived for years in China, returned to 
England and announced that he was apply- 
ing for a civil appointment for me to 
Peking. Once that would have opened up 
visions of pagodas against pale, lacquered 
skies, but now — I didn't know. I wasn't 
exactly on the stage, but I had one foot on 
it, and different managers were hinting 
tliat they might have something for me. 

I decided to put it definitely up to Fate. 
"Whichever offer comes first I will take!" 
I promised myself. "If I get the civil 
appointment first I will go to China. If 
I get a part in a West End theater I'll 
stick here." 

Before the three weeks' vaudeville en- 
gagement was up I had a part offered to 
me with Gladys Cooper — a tiny part with 
a tinier salary, and almost on its heels came 
the civil appointment with a far better 
salary. But I took the first, as I had de- 
cided to (I shall never wear that embroi- 
dered satin robe and sit at a teakwood desk 
now!), and for several years after that I 
played in London. 

California had become golden in another 
sense from my childish dreams. After- 
war England was discouraging. Why not 
go to America and try the movies ? 

I was married just before leaving Lon- 
don. Incidentally, I am still married. But 
an Englishman's heart is his castle. He 
doesn't invite the whole world in. 

1 landed in America to find a picture 
slump and closed studios. For months I 
carried my letters of introduction to pic- 
ture directors and stars until they were 
frayed and illegible. Then in desperation 
(for I was kept awake by the wolf howl- 
ing outside my hotel door) I took a small 
part in a new play. Perth Amboy didn't 
like it at its try-out and they closed it up. 
Another new play — Atlantic City didn't 
approve and they took it off. Still a 
third — and the good citizens of Hartford, 
Connecticut, turned thumbs down ! 

Then at last I reached Broadway. 
Parts began to come my way — and then. 
just when I had definitely given up all 
ideas of the movies, Mr. Henry King, the 
director, sent for me and asked me to 
have a test taken for the leading-man in 
The White Sister. 

I refused it three times, but in the end 
T went to Italy to make the picture. 
Months in Rome, back to New York, and 
almost at once to Italy again to make 






Romola. We went there for authentic 
settings, only to find the streets of Flor- 
ence were so narrow we had to' build a 
replica on a lot outside of town, which 
explains why tourists looking down from 
Fiesole see two Duonios rising among the 
trees and swear off drinking vin ordinaire. 

Tho I had lived within a night's trip 
of Italy all my life, I had to come to 
America to see Rome and Florence. Eng- 
lish are not such travelers as Americans. 
Many people live within sight of Dover 
and never cross the Channel to the Conti- 
nent. 

Tho it rained most of the time in sunny 
Italy and our wildest diversion was check- 
ers, I enjoyed the two pictures I made 
there. To my mind. Lillian Gish is the 
greatest actress of the screen. 

And now at last the cross-roads have 
brought me to California, and I feel at 
home among the foothills, as tho I had 
been traveling toward them always, down 
the Thames, thru the tuppenny tubes, thru 
the mud at Ypres. Some day I hope to 
build my house in sight of them. If I do 
I am resolved that it shall have no tele- 
phone in it— that is one American "con- 
venience" I can do without. 

This is the story of my life — so far. 
It gives me quite a gray-bearded sensation 
to write my autobiography. But I hope 
that there will be several more interesting- 
things happen to me — pictures to be made, 
friends to be discovered, strange lands to 
be seen, before the story is completed. 



Next Month 

"CHEATERS" 

By HARRY CARR 

Ever Hear of Them? 



The "dope" on pictures made by 
producers with no money — but a 
bright idea. 

"A man was making a picture in 
•which lie had to have a mob — a mob 
or his picture perished! So he 
rented a grocer's wagon, hid a 
camera inside it, and made it lose a 
wheel vtt .he busiest corner in Los 
Angeles. He was almost arrested 
by the traffic policeman, but he got 
his mob all r>ght. And he was saved 
$5,000." 

"Another time he had to have a 
fire engine rushing thru the traffic. 
He caught one coming home peace- 
fully after a fire and to get the rush, 
he himself hired an ambulance from 
an undertaking establishment and, 
with a camera inside, drove it furi- 
ously himself thru the heart of the 
traffic, hooting the siren that gave 
him the right of way." 

Read how "Cheaters" have made 
some men millionaire producers over- 
night in 

April 

Notion Pktupt 

MAGAZINE 



Advertising Section 




lesterdaq-fbmmonpl 
^adaii" a^eautq! 

Only a difference of pores— enlarged or invis- 
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so much more gently, swiftly and daintily 

Those of us who really want beautiful skins, have them. It is 
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lovely skin with pores so tine as to be almost invisible — and 
meant us to keep it. 

And then the raw wind blew, and the dust swirled — and one 
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waning beauty. 

With cleansing and softening creams we labored arduouslv at 
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helping to cleanse and replenish the oil cells of the skin. 
But the task is not finished — the pores have not usually been 
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But some of us who really want beautiful skins and have them, 
have taken care to close the pores to their natural fineness 
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Awaken the skin with cool, not 
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April Tutorial of Stage and Screen April 

The Theatre that Started on a Shoe String 

HPhe romantic history of the New York Theatre Guild. Ten years ago 

it was started without a nickel by a group of penniless artists. Now 

famous playwrights from all over the world clamor to have their plays 

produced here. 

The Great 
Divide 

TT7HERE does it lie? 
Before you see 
this picture, starring 
Conway Tearle and 
Alice Terry, read of 
it in story form in 
our April number. 
The romance of the 
great, open spaces — 
the story that never 
grows old. 




Poverty Row 

T~\° you know it? 
*-* It's the row of 
little, independent 
producers who live 
— or starve — on the 
crumbs that fall 
from the table of the 
big picture com- 
panies. You'll learn 
inside movie secrets 
from this newest 
story from Holly- 
wood. 

LOUISE FAZENDA Fx\NS, ATTENTION! 

Her picture in colors on the cover — a new Louise you never knew 
before. No longer a comedy star but a beautiful heroine, who wins 
the hero in the end in a new picture, The Lighthouse by the Sea. 

Be Sure Not to Miss the April Issue 




aMSJ2MSMaf3MaiS| 



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96 

Gt 



That "Different" Screen Magazine 
On the News-stands February 12 

Every advertisement in MOTION PICTURE MAGAZINE is guaranteed 



Back to tke Never-KTever- 

Land with. Ernest 

T orrence 

Captain Hook of Peter Pan tells why 
he loved this role best of all 



E 



RNEST TORRENCE was so happy 
to be playing the villainous Captain 
Hook in the screen version of Peter 
Pan that he didn't know whether he was 
in Hollywood or in Heaven. 

"You were glad to be given the role?" 
asked a friend, offering him congratula- 
tions. 

"Glad ?" shouted Mr. Torrence ; "it was 
the greatest thing that ever happened to 
me in my life. In all the history of the 
world's literature there's not a character 
I'd rather play !" 

Even without the make-up, Mr. Torrence 
looks the part. Give him a wicked hook 
for his right hand, an alarm clock for a 
heart, a red silk sash and a pirate's sword 
— and there he is in real life — the desper- 
ate captain of the pirate ship whom Peter 
Pan encountered while cruising the sea 
of the Never-Never-Land, and vanquished 
single-handed. 

Of course, those who remember Mr. 
Torrence as the great brute in Tol'able 
David, as the half-witted clown in Singed 
Wings, or the grizzly old scout in The 
Covered Wagon, might wonder how he 
could play an imaginative part in Barrie's 
fairy fantasy. They might find it hard to 
believe that this man who looks so fierce 
and acts so rough is really a poet at heart, 
the mildest man alive. Strictly sub rosa 
it might be said he loses some of his mild- 
ness when on the losing end of a golf 
match — but that, as Kipling said, is an- 
other story. 

But when Herbert Brenon chose this 
man to play the pirate captain in the Para- 



•#57"» 



Advertising Section 



«°si ur i 



mount version of this play, with lovely, 
little Betty Bronson as Peter, he knew 
well what he was doing. For underneath 
his gruff exterior there is in Ernest Tor- 
rence the heart of a Peter Pan, a boy that 
never grew up. 

"pVERY man with the heart of a boy is a 
potential Peter Pan," said Mr. Tor- 
rence. "In infancy he may not have 
fallen out of his baby carriage when his 
nurse was looking the other way, nor 
have flown in and out of windows to 
play with other people's children. But, 
at some time in his life, he has been blood- 
brother to that wonderful band of Lost 
Boys — the boys who never grew up. He 
has had his adventures in the forest of 
the Never-Never-Land, and cruised on its 
desperate seas. 

"It is easy enough for a boy to find the 
trail to that wonderful land of adventure. 
The feet of youth skip over it nimbly 
enough; in fact, most of them cant miss 
it ; but alas, there are many stones in that 
path when age comes to travel that way. 

"Sometimes the trail runs thru an or- 
chard, across a field or along a stream. 
Sometimes it starts and ends inside the 
fence of your own back yard. Sometimes 
it never gets outside at all, but runs thru 
hallways, up long flights of stairs, into 
dim and dusty attics. 

"Ah, yes ! There are many trails to 
the Never-Never-Land, but most of them 
are secrets, for the path-finder is reluctant 
to share their mysteries with anyone — it 
is only to a rare, kindred spirit he con- 
fides them. 

"Indeed, I am sorry for the man who 
has grown too old to remember the days 
of his hand-to-hand encounters with 
whiskered pirates of the Spanish Main ; 
his desperate battles with savage red- 
skins, when every clump of bushes was 
an ambuscade, every tree concealed a 
deathly foe. 

"What heroes we were, what strategy 
we used; what wonderful brains we had! 
For our enemies never defeated us, they 
schemed against us in vain. We laughed 
at the plots of the nefarious Captain 
Hook; the wily Long John Silver laid his 
traps for us in vain; armed with our 
trusty (albeit rusty) rifle, Chief Red 
Eagle had no terrors for us. We thwarted 
them at every strategic point, and how 
we gloated over their mangled bodies! 
The shock of battle, the clash of swortis, 
the deep boom of the giant cannon were 
music to our ears and in this world, 
which we shared with only a trusty few, 
we reveled in it all. 

'""Those were great days. We have 
grown up now ; hair is turning gray, 
feet are stiff and weary, back-yards have 
shrunk to diminutive dumps and into 
something to be avoided. The clump, of 
trees is an ambuscade only for dampness 
that might bring on rheumatism. The 
trail to the Never-Never-Land is faintly 
marked, almost forgotten. Yet some of 
us there are who can close our eyes and 
still see it shining brightly, quite as dis- 
tinctly as ever, full of allure and glory. 
"That is why I was glad to play Cap- 
tain Hook of Treasure Island in the 
Never-Never seas ; to blaze anew the trails 
that were so familiar in my youth. I 
wanted to pause in my duel with Peter 
Pan and cry hoarsely, 'Who are you, 
Pan?' And to hear once more Peter's 
reply : 

" T am youth, eternal youth ! I am the 
sun shining! I'm the poets singing! I'm 
the new world! I'm the- little bird that 
has broken out of the egg! I'm joy, joy 
joy !* " 




"Everyone is looking 
at you, dear" 



They can't help admiring you — you 
are so beautiful !" he whispered, look- 
ing down at her pink and white beauty. 

Her heart was lighter thafi her 
golden slippers, for she knew the secret 
that made everyone admire her — and 
made him more devoted than ever. 

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Presto! The face is beautified in an instant. 



dMpttl 



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for color 




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When you write to advertisers please mention MOTION PICTURE MAGAZINE. 



97 

PAG 



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AMOTION PICTUfip 
21 I MAGAZINE I 



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J 



Advertising Section 
Confidences Off-Screen 

(Continued from page 37) 

arc favorable liofirs, when a woman star 
one is trailing does not happen to be en- 
gaged on a new picture. 
I had never onstance Talmadge, 

and wanted her very much for this confi- 
dential page. How, when and when to 
arrange for a tea? I asked myself. The 
chief difficulty lay in the fact that I could 
not find out where she was. Some said 
Hollywood, some New York. 

Then an invitation dropped from the 
skies. ( onstance had arrived from the 
'oast, and was giving a tea in her suite 
at the Ambassador. The members of the 
motion-picture press were all asked. 
Would] bring myself and -my questions to 
the party ? 

Of course, I would. 

I had visions of waiting my turn, getting 
the star to myself and interviewing her 
peacefully. But little did I realize the 
popularity of Constance. Dozens and 
dozens and dozens of people were as eager 
to talk to her as I was. 

Mrs. Al Smith, the wife of the Gover- 
nor, was there. So were Anita Loos and 
John Emerson, and two or three book pub- 
lishers, and nine or ten poets, and more 
editors than one could count. 

I dont remember ever having drunk such 
good tea. < onstance served it, gave me a 
nice smile, then had to dart away to make 
a newcomer happy. I wouldn't have had 
the nerve to try to talk shop. She was a 
hostess with much on her hands. 

So I stood back and observed her. She 
is one star whose personality off-screen is 
identical with that with which the public 
is familiar. You'd recognize her tall, 
graceful figure, her piquant face, in any 
crowd. There's a touch of the tomboy in 
her manner, and mighty attractive it is. 
But her bright golden hair is a detail 
that the camera, unfortunately, cannot 
record. 

The afternoon was a huge success, tho 
a word with Constance here and a word 
with Constance there was all it yielded in 
the way of an interview. 

She told me she was returning to Cali- 
fornia in a few days, to make a picture 
called The Man She Bought. 

She also gave me an appointment all to 
myself, but what I learned on that occa- 
sion is material for another story. 

A Wise Jester 

V/Toxtv Banks has been letting me be- 
hind the scenes concerning the diffi- 
culty of making people laugh. He is one 
of the livest funny fellows in motion pic- 
tures, and he's left me with the feeling 
that he's a shrewd psychologist and no 
small shakes as a business man. 

In spite of his name, Banks is an 
Italian who landed in America some years 
ago without a word of English at his com- 
mand. Mastering the language was just a 
preliminary canter for him. He was wild 
to break into the movies, and proceeded 
to do so by the direct method of promoting 
his own first starring vehicle. His friends 
shook their heads and told him ■ that his 
being a foreigner was an awful handicap. 
Needless to add. that was before the rise 
of Valentino, Xovarro and other Latin 
stars. 

"But, no," he argued: "the Americans, 
they may not want to be serious with a 
wop. You betta your life they laugh with 
one !" 

He induced a trusting acquaintance to 



7/ 



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Advertising Section 



^-.MOTION PICTUR] 

IH0I I MAGAZINE 



put up twenty thousand dollars, hired a 
company and went to work. Immediately 
he collided with the problem of judging 
humor from the actor's side of the fence. 
It was easy to think up gags, impossible to 
know how they would be received by an 
audience. To this day, he finds it is largely 
a matter of guesswork most of the time, 
of intuition when one is lucky enough to 
be at the top of one's form. 

Banks completed his picture and, posi- 
tively trembling with apprehension, he ob- 
tained a trial showing for it in a Los 
Angeles theater. 

"I tear a nice new cap to little pieces 
while I wait — I do for a fact," he grinned 
reminiscently. 

But his stuff got across. The chuckling 
of that first-night crowd encouraged ex- 
hibitors to book his comedy all over the 
country. He made enough money to go 
ahead with others like it. Nevertheless, 
he has had his ups and downs. 

Banks finds it a great joke that he is 
popular in Italy, without his compatriots 
suspecting he is an Italian. They inno- 
cently suppose him to be a typical Yankee 
comedian. Here, of course, it is the ex- 
uberant Mediterranean note in his humor 
that his admirers appreciate and reward. 

His recent releases have been thru 
Pathe. But he retains the independence of 
the free-lance, on both the artistic and the 
financial ends. I f I'd had a doubt of 
Monty's business ability, the circumstances 
of our meeting dispelled it. To excuse 
himself for being late, he proved to my 
satisfaction that he'd been at a bank rais- 
ing a big loan for his next venture. How 
many comic actors, I ask the world, would 
have been able to do as much ? 

The Most Fortunate Girl 

The most fortunate girl in motion pic- 
tures today is Carol Dempster. A great 
genius has been training her for years in 
the mysteries of her art. He took her 
when she showed few signs of promise to 
any eye but his. He saw the potential 
actress in her and ardently, patiently, he 
brought her to flower. 

He gave her at last a role in which she 
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which demanded that she be hungry and 
gaunt. But what a role it was emotion- 
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She is the girl in Isn't Life Wonderful 
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Constance gave a tea for editors, 

writers and motion picture people in 

her suite at the Ambassador, in 

New York, recently 



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Advertising Section 

' This Business of Being a 
Vampire " 

(Continued from pages 42 and 43) 
NITA NALDI 

situation. Suppose she saw this character 
"throw over the traces." For the first few 
reels everything is lovely and the sweet 
little heroine is getting the worst of it. 
Consequences begin to pile up against her 
and by the time ol the final close-up she 
not only has lost the man she coveted but 
is shunned by everyone else and is worse 
off than she was before. 

Mind you, I am writing no treatise on 
the vampire — a moral lesson, nor do I say 
that I enjoy playing vampire roles for this 
reason. I simply want to show that she 
is;_ undeniably, -a moral lesson. Dont you 
think the woman who is bored to tears 
with the sameness of her life might get 
an idea that she would be precipitated into 
something worse if she stepped out of her 
character and yielded to the urge to take 
a flier at vamping? 

A vampire is society's negative lesson. 
"Dont do as I do v " she says. "Do as I 
dont." She holds up* the mirror of life 
and shows you a certain phase of it vividly. 

To be a screen vamp requires not only 
the coloring and the flair for such roles ; 
it requires, also, a certain amount of hardi- 
hood. What you are on the screen, that 
you are in real life, is the general idea. 

You would be surprised to know how 
many Nita Naldis there are in this coun- 
try. There comes to mind an example in 
a story a friend told me. 

"I was dining with a chap the other 
night," he said, "who was anxious to meet 
you. Suddenly, he nodded across the room 
and said: 

" 'There's Nita Naldi over there. In- 
troduce me, will you?' 

"From a distance, the girl did look like 
you, so I walked over to see her, only to 
discover at their table it wasn't you at all. 
I had to say something, so I apologized 
and explained my error. . 

"The girl's escort leaped to his feet, fu- 
rious. This is Nita Naldi.' 

"I stared at him. 'But I have known 
Nita Naldi for eight years and I lunched 
with her only the other day,' I protested. 
'This is not Nita Naldi of the screen !' 

" 'I dont know who you know,' he raged, 
'but this is the Nita Naldi!' 

"Having no desire to get into a violent 
argument, I bowed again and walked away 
with the final shot : 'But she is not Nita 
Naldi.' " 

This is only one of the few examples of 
bogus Nita Naldis populating the coun- 
try. Not that it particularly matters, but 
it isn't the most agreeable thing in the 
world to have a woman galavanting 
around, saving her reputation by blacken- 
ing your own ! 

Why people should think that because 
one is a vampire on the screen one con- 
tinues the role in real life, is just another 
mystery explained only by the fact that at 
heart every woman is potentially a vamp. 



BARBARA LA MARR 

the best-known designers and costumers in 
films, came to New York for the purpose 
of creating my gowns for this picture. 
But Sandra offered opportunities for act- 
ing as well as for wearing, handsome 
clothes. Which is why I enjoyed it. 

One of my most enjoyable roles, how- 
ever, was in Thv Name Is Woman. The 
woman in that picture was a sympathetic 



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character. Married to a man years older 
than herself, she loved for the first time 
a handsome, young soldier. She loved him 
so much that she was on the verge of 
eloping with him. . . . She was a strong, 
fascinating character; her very qualities 
showed a cross-section of life. 

In my new picture, Hail and Farezvell, 
one of the greatest love stories ever writ- 
ten, similar opportunities for a warm, 
womanly character portrayal offer them- 
selves. 

! But to the question : "Do you like to play 
vampire roles ?" my answer will continue to 
.be an emphatic "No!" for the simple rea- 
son that I do not believe there is such a 
type. At all events, variety of roles, like 
variety of life, makes pungent and in- 
triguing what otherwise would be a drab 
existence. 



Learning to Love 

(Continued from page 86) 

kiss. "I do tho, but I never realized how 
much till you went away, sweetheart !" 

For a moment there was delicious 
silence. Then, "Oh, but Scott. I'm in an 
awful mess. I gave my word to Billy I'd 
marry him as soon as I divorced you. He 
says I've wrecked his life, and he'll go 
shoot himself or something." 

"Whew!" said Scott. "Where is he? 
Let's go talk with him." 

.So they rolled up the Butte Montmartre 
to Zelli's. It wasn't at all hard to find 
Billy ; he was the center of attraction. 
He was surrounded by champagne bottles 
and girls. Catching Scott's eye, he became 
possessed of an idea he had seen this 
man somewhere before. "Come meet 
French girls !" he called. "F-french girls 
b-best in world. Love 'em. Love 'em 
all !" 

"I think," said Scott to Pat as they 
went out, "that Billy will survive es- 
pecially with the er-er attention he's get- 
ting." 

So that is why the next morning, when 
Aunt Penelope opened the door to Pat's 
room, she was startled to see, first a man's 
overcoat hanging over the back of a chair, 
and second, Scott's dark head beside Pat's 
golden one on the pillow. 

; Tiptoeing so softly to her room, she 
telephoned the office. "I made a mistake 
just now, when I ordered two breakfasts. 
Please send up three." 

The gentleman who answered the phone 
winked at his assistant. "Man Dicu, Henri, 
it is wonderful. What a scandalous effect 
La Belle Paris has upon these Americans. 
I ask you, for whom is this third break- 
fast?" 

"How should I know ?" shrugged Henri. 
"It is not my affair. Besides it is spring 
—and in spring " 




"Kiss me again," said Pat 



J7-M0TI0N PICTURR 

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"How the Shape of My Nose 
Barred Popularity" 

By Grace Sterling 

T was a "wall flower"! I was a good dancer Attention to your personal appearance is 

and had no difficulty in following the most nowadays essential if you expect to succeed 

eccentric partner. I belonged to a good family in life. You must look "your best" at all 

and three years at "finishing school" had times. 

trained me for my social life 1 had travelled M Trilety's latest improved Nose Shaper, 

a great deal and could talk intelligently on .. Trados " i/ ode ] No. 25, U. S. Patent, is the 

many subjects I was very popular with ray most meri torious Nose Shaper of the age. His 

girl friends. Yet, I seldom received an ravi- ]6 vears of exper jence in perfecting Nose 

tation to a dance or to spend an evening at shapers has proven that to the unfortunate 

the theatre, from the young men of our social possessors of fll-shapen noses he offers a sensa- 

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I was seldom asked to dance and usually spent Appearance. His latest model has so many 

the evening as a wall flower. superior qualities that it surpasses all his 

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for my unpopularity — why 1 was shunned at distended or wide nostrils. There are no 

dances, never included in the wonderful parties straps to be pulled in order to exert pressure 

going on all around me. on the nasal organ. 

Finally one afternoon while shopping I ran Model No. 25 is upholstered inside with a 
into Marie Hamilton, one of my best chums very fine chamois (covering a layer of thin 
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trip from Chicago to select her trousseau — but tact with the apparatus; this lining of metal 
OH! what a change. It was she who recog- causes an even, moderate pressure on the parts 
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with her she confided her beauty secret. My M d , N , 5 ; g uaran t e ed, and corrects 

heart beat fast as I pressed her for further n(m fl// ;„. shatcd * oses wit hout operation, 

aetans. quickly, safely, comfortably and permanently. 

Marie had had her nose reshaped, yes. actu- It is to be worn at night and, therefore, will 

ally corrected — actually made over, and how not interfere with your daily work, 

wonderful, how beautiful it was now. This . _ . , . . n r w • t *~-l -jj 

change had been the turning point in her Model No. 25 Junior tor Children 

career! It must also hold the key to popu- if vou w i s h to have a perfect looking nose, 

larity for me. "How did you accomplish it?" dip the coupon below, insert your name and 

I asked feverishly of Marie. She informed address plainly, and send it today to M. 

me that M. Trilety, a face specialist of Bmg- Triletv. Binghamton, N. Y., for the free book- 

hamton, New ^ ork. had corrected the shape let which tells you how to correct ill-shaped 

of her nose — and in the privacy of her own noses, 

home. , 

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received full particulars. The treatment was I 2302 Ackerman Bldg., Binghamton, N. Y. 

so simple, the cost so reasonable, that I decided r. c- -m j >it. < .*. t-ii 

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my story short — in five weeks my nose was I "'-snapea noses, 

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but now it is just one grand round of pleasure, 

and I owe it all to M. Trilety. J q tate 



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101 
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{M 



Advertising Section 




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MIFFLIN 
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Norma Shearer tests out the 
celluloid spectacles used for 
viewing stereopticon pictures 

Along the Atlantic Way 

(Con tinned from page 68) 

T T i* at the Jackson Studios, I discovered 
Alice Lake, Miles Welch, Barney 
Sherry and Maurice Costello making The 
Fast Pace. .The title is very apropos, as 
the director, Wilfred Noy, had shot forty- 
one scenes the day before. Mr. Noy has 
been in this country only a few months. 
He came here with the idea of learning 
American directorial methods. He secured 
small roles in Janice Meredith, and' in one 
or two other pictures where he might 
watch our directors work at first hand. 
Then he made The Lost Chord, for Whit- 
man Bennett. Now, immediately on its 
heels, comes The Fast Pace. 

Just stumbled into a great piece of news. 
As we all know, Betty Bronson and 
Director Herbert Brenon came to town 
to attend the -opening of Peter Pan. Now 
it is planned for them to stay on here in 
the East where Mr. Brenon will begin 
work, very shortly, on The Little French 
Girl, Ann Sedgwick's best seller, with 
Betty in the title-role. The title will be 
changed to That French Girl. 

YI7 hitman Bennett, who makes pictures 
as fast as the normal person thinks, 
is producing Lena Rivers, at his studios in 
Yonkers. The cast is headed by Earle 
Williams, Gladys Hulette, Doris Rankin 
and Edna Murphy. The last time 1 saw 
Earle Williams was some three years ago 
when he was in the East starring in The 
Fortune Hunter. 

A nother report has it that George Walsh 
is to be starred in a series of pictures 
under the I. E. Chadwick banner. His 
running mate is Lionel Barrymore, who 
also rejoices in stellar colors for the same 
organization. 

Trexe Rich is in town and very happy 
over her new starring contract with 
Warner Brothers. Also Julanne John- 
ston, who has been in Europe for six 
months making pictures. Her last Eu- 
ropean venture was The City of Tempta- 
tion, made in Berlin and Constantinople. 
Julanne says there wasn't anything tempt- 
ing about Constantinople or if there was, 
she was too busy to see it. 

T i l.max Rich is also in town. She will 
appear opposite Adolphe Menjou in 
. / Kiss in the Hark. Rod La Rocque also 
stopped on his way to Paris, where lie will 
play opposite Gloria Swanson in The Coast 
of 'Lolly. 



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On the Camera Coast 

(Continued from page 90) 

About the luckiest girl that ever struck 
" Hollywood is Dorothy Sebastian. She 
is a little Southern girl from Birmingham, 
Alabama. About seven months ago she 
took it into her head to go to New York 
and try to get a job on the stage. It was 
as tho someone had given her a golden 
key to the city. Without the least dif- 
ficulty she got a place in Ziegf eld's Follies: 
she made up her mind she would rather 
be in another Xew York show : she got 
that job just as easily. Then she decided 
she would like to be a motion picture 
actress. She came to Hollywood. Almost 
the day she arrived, it came about that she 
met Henry King, who directed Lillian 
Gish in Roinola. He gave her a screen 
test one day : cast her for an important 
part in Sackcloth and Scarlet the next. 
The next day after that, the producer 
gave her a five-year contract. Most girls 
have worked for years to achieve any one 
of these positions. Miss Sebastian, in 
appearance, suggests Gloria Swanson. 

Actors who have recently been to Europe 
have come back bulging with excitement 
over the Parisian glory of Gloria. It ap- 
pears that she lives in a young palace 
and has twenty-five servants to help her 
with the housework. 

X/Tae Marsh says she cant stand idle- 
ness any longer : "resting," she says, 
"is the bunk." So she will play the lead in 
J. Stuart Blackton's The Garden of 
Charity — from the book by Basil King. 

Rod La Rocque has departed for Europe 
to play the lead in the next Gloria Swanson 
picture, which will be The Coast of Folly. 
Rod is in a great state of excitement over 
the event. 

Pola Negri, having turned her back for- 
ever — well, anyhow for the present — upon 
love and romance, is going to immerse her- 
self in literature. In her new house which 
she bought from Priscilla Dean, Pola is 
installing a new library, having started 
with an order for two thousand volumes. 
In order to perfect her knowledge of Eng- 
lish, all her books will be in English. Pola 
is a great admirer — like most Slavs — of 
two American authors: Mark Twain and 
Jack London. 

p ric vox Stroheim and Mae Murray 
seem at last to be peaceably started 
on The Merry Widow . . . after all the 
various rumors of war. As an indication 
that all was peace and harmony, invita- 
tions were sent out to all the newspaper 
and magazine writers to come down and 
witness the turning of the first camera 
crank. Then these invitations were all 
hastily canceled without explanation. The 
studio says it was only because the cos- 
tumes were not ready. 

Meanwhile, Miss Murray has had other 
troubles. Near her house in Beverley 
Hills was a neighbor with a kennel of 
dugs which became greatly interested in 
vocal exercises whenever the inconstant 
moon arose : also at other times. She 
had the offender arrested and he was tried 
before a jury which must have consisted 
of Beverley Hills dog owners. Anyhow, 
he was acquitted, with the explanation 
that dogs will be dogs. Miss Murray now 
announces that she intends to move and 
leave Beverley Hills flat. 

Q± as-heaters seem to have occupied the 
center of the stage in Hollywood this 
month. Lois Wilson astonished the Lasky 
lot by appearing one day. last week minus 
her long tresses. She said she had had a 
(Continued on page 117) 



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103 
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AMOTION PICTURF 
101 I MAGAZINE L 



Advertising Section 




The Art of 
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Ben Lyon as a young officer, in 

Forbidden Paradise, where he 

was Pola Negri's leading man 



Tke B037 on tke Cover 

(Continued from page 27) 

most talented young women there. And 
during the past two years he has played 
opposite the very first vamps of Screen- 
dom. Barbara La Marr, Pola Negri and 
Gloria Swanson all have vamped him in 
their fashion, and Ben has vamped right 
back. 

But tho he has now been taken to heart 
by the public and his picture hangs in 
every complete flapper boudoir, our young 
hero isn't the least bit spoiled. He hasn't 
even become blase about fan letters, tho 
he gets over two hundred a day. 

"I'll never forget the first one I ever re- 
ceived," he said. "It was from a girl who 
wanted my picture. 'Dear Ben,' she wrote : 
'I think you're absolutely wonderful. I 
have seen you on the screen and you are 
my ideal. How I wish there was someone 
like you in this town ! Your eyes, your 
hair — everything about you, even your act- 
ing, is fine. Enclosed please find a one- 
cent stamp for mailing photo.' 

"I'd like to answer every letter, but of 
course that would be impossible. I got 
one the other day, tho, that I'm going to 
answer, all right. It was from a girl who 
said she thought I was a big, conceited 
mutt, and she couldn't see why her girl 
friends liked me. She thought I was ter- 
rible and demanded to know if I had any 
good excuse for living. It is the first one 
like that I have ever had, and I'm going 
to write to her and tell her I'll try to do 
better." 

I myself have something to say to that 
girl, and I hope she reads this. For she 
is all wrong. I never met anyone less 
aware of his own talents, and when she' 
wrote him that way, I think she was just 
trying to get an answer from him. She 
will get one, too. 

She also intimated in her letter that Ben 
was something of a bad boy. Here she is 
wrong again. True, he loves to dance, at- 
tend theaters, tea-parties and that sort of 
thing, but he leads a very quiet life in 
Hollywood. 

"Not that I'm crazy about the simple 
life, but it's the only kind they have out 
there !" said Ben. "One reason I like New 
York is because everybody seems in a 
hurry. Everybody is wide-awake, doing 
things, big things — you can feel it, that 
atmosphere of accomplishment, as soon as 

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you get off the train. New York's all 
right. I guess we'll let it stay on' the map." 

Ben's mother travels with him, and he 
is always thoughtful and considerate of 
her. I heard him planning to take the 
subway to the studio one day so that his 
mother could go shopping in his car. 

And speaking of the car, I must tell you 
something very funny. We were return- 
ing from the Biograph studio, where Ben 
was making The One Way Street. As we 
passed a motor - cycle policeman, Ben 
waved to him, and told the chauffeur to 
step on the gas. The man stepped, and 
the policeman jumped on his cycle and 
started after us. "Faster, faster ; dont 
spare the tires !" urged Ben. 

"Wait, we'll get pinched for sure!" I 
cried. 

"No, we wont; he's a friend of mine," 
assured Ben. "Step on it !" 

The light of a naughty schoolboy playing 
a prank was in his eyes. Faster and faster 
we sped. Faster and faster, sped the 
motor-cycle policeman. Just as I was try- 
ing to think that a night in jail would be 
a unique experience, anyway, trie cop 
caught up to us and ordered us to pull 
over. The occupants in the passing cars 
looked at us sympathetically. What a 
nice-looking young boy to be getting a 
ticket, they thought. But the policeman 
hailed us with a "Hello, Ben — where you 
been? I telephoned you last night." 

"Gee, sorry to have missed you," said 
Ben after the necessary introductions had 
taken place. "Take dinner with me next 
week." 

"Sure," replied the policeman, who, by 
the way, was about the sternest-looking 
policeman I had ever seen. "I know a 
swell place where you get grand steaks." 

"All set then, we'll go there," said Ben. 
"Say, I think my speedometer is wrong. 
Come along with us and let's test it with 
yours." 

So we continued on our way with the 
policeman and his motor-cycle beside us. 
It looked like a personally conducted tour 
to the station-house for fair. 

"He's a great fellow," remarked Ben, 
when we left the policeman in the distance. 
"We have a lot of fun together." 

Who was it that said "The true aristo- 
crat is the greatest democrat" ? It was 
some great man, anyway, and he would 
surely say it again, if he could meet Ben 
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Gentlemen: Without obligation to me send I 
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The Winners of the Month 

{Continued from pages 46 and 47) 

Isn't Life Wonderful 

men forage in search of food. It is a 
suspenseful climax and caps a story which 
holds the attention in a tender grip. 

The exteriors were produced in Germany 
and are, consequently, convincing in every 
detail. Griffith's insistence upon adequacy 
and quality in the staging of his pictures 
is, of course, evident here. His gift for 
taking a condition affecting the population 
of a whole town, or a whole country, for 
that matter, and showing first, the general 
view, then narrowing the attention down 
to an intimate few, is on brilliant display 
in this searching drama of the strn. 
against starvation. 

Carol Dempster and Neil Hamilton do 
excellent work in 'the roles of the lovers, 
and the rest of the acting is up to an 
equally high standard. 

Greed 

The director has achieved some rugged 
effects, and there are good performances 
by Gibson Gowland, 'Zasu Pitts, Jean 
Hersholt and others. The scenes in Death 
Valley are as realistic as those of the 
sewer in Frisco Bay, and others which 
occur in the picture. It is a concentrated, 
deliberate work and reaches its climaxes 
so slowly as to defeat their purpose as 
drama. Greed is realistic, but so, too, is 
the actual photograph of a wheat field, and 
at the same time more wholesome. 

North of 36 

the drive. Hardships and perils are en- 
countered and overcome and, in a burst of 
glory, the drive reaches its destination. 

Lois Wilson and Ernest Torrence are 
much at home in the habiliments they wore 
so successfully in The Covered U'ju, v. 
Jack Holt makes a dashing hero, and Xoah 
Beery, a successfully hateful villain. 

Scenically and photographically, it is a 
heroic effort. While the spectacular phases 
are the picture's all, still that measure is 
so generous as to make it an enjoyable 
and, at moments, a stirring hour or so of 
photoplay entertainment. 

Romola 

The drama is an extravagant passage 
from history, and, once the second part is 
introduced, it becomes completely absorb- 
ing. There is vitality in Tito's political 
intrigues and in his dual love-making to 
Romola and Tessa, the ladies whose sta- 
tions in life are so widely separated. This 
Tito is a sort of prototype of The Show- 
Off. He builds his house on lies and 
carries on his -falsehoods until his hist for 
power brings his downfall and death. 

The picture, however, is not such a tri- 
umph for Lillian Gish's art as was The 
White Sister. The dramatic foundation is 
built more upon political intrigue than 
romance. But Miss Gish lends a beautiful 
portrait as Romola — and her sister. 
Dorothy, gives an animated study, one 
suggestive of her hoydenish roles in pre- 
vious pictures. It does not carry the 
surging heart-beats of The White Sister. 
since it does not employ so much sym- 
pathy and pathos. And there are no great 
moving scenes, aside from the climax 
showing Savonarola's execution. But one 
can call it a triumph of cinema art. 
Scenically, it is like peering at a group of 
rich tapestries by some artist of the Mid- 
dle Ages. It is a rich, historical pageant. 

And what a treat for the eye! 



Every advertisement in MOTION PICTURE MAGAZINE is guaranteed. 



Advertising Section 



WMM!£ W 



Letters to the Editor 

(Continued from page 76) 

for his popularity. The women know, 
but they dont tell. ' Interviewers find him 
hard to reach and shy on all subjects. He 
declares he hates to be a matinee idol. 

I met Valentino on the Lasky lot. With 
me was the perfect Valentino fan. When 
she saw him coining toward us, she said : 
"Please introduce me by my maiden name 
and dont mention my husband and baby." 
So saying, she took off her wedding-ring 
and slipped it into her pocket. There's 
a little bit of bad in every good little 
girl. 

Mr. Valentino suggested luncheon and 
escorted us to his motor. 

A. U., 

Detroit, Mich. 



Boosts and Bumps for the Stars 

Sent to the Editor by the Fans 

Dear Editor : What more could any 
director ask than a pair of actors like 
Corinne Griffith and Conway Tearle? 
These two are the reasons why I liked 
Lilies of the Field and Common Laiv. 
The versatile Corinne is balm to any eye ; 
one of the most ladylike and natural ac- 
tresses on the screen. Conway Tearle is 
an old favorite with many fans. What- 
ever his role, he carries it off gracefully — 
yet no one could accuse him of being any- 
thing other than a real, live he-man! 
M. M., 
London, England. 



Dear Editor : Tho the Red Lily is a 
splendid picture, gripping and engrossing, 
it made me sick at heart to see Ramon 
Xovarro in such a tragic role. I love 
Ramon for his radiant youth, his beauty 
and his priceless wit. God made him 
beautiful and He did not do that much 
for many of our male film stars. So why 
picture this idealistic star suffering and 
degraded? Why disfigure him? Give 
ME Ramon as he was in the exquisite love 
scenes and comedy moments of The Arab! 
I am delighted to hear he is making Ben 
Iliir, for that is an ideal role for him. 
P. J-, 

Akron, O. 



Dear Editor : Nita Naldi doesn't know 
how to comb her hair. Wont someone 
please show her how ? 

Clara Bow is not beautiful and she has 
a very bad profile. Please tell her not to 
look sidewise again. 

M. S. L., 

Elmira, N. Y. 



Dear Editor : To me the movies mean 
rapturous hours of fairyland, my own self 
lost in the shadow players, while I visual- 
ize myself in each role. Valentino with 
the audacious smile ! "Love me and the 
world is yours !" it seems to say. What 
woman wouldn't? And what man wouldn't 
give his last dollar for half the charm of 
it in his own smile? 

L. M., 

Brooklyn, N. Y. 



Dear Editor : I want to sing a hymn 
of praise to the finest villain of the screen 
— Ricardo Cortez ! No actor has advanced 
with more rapidity from insignificant 
parts to leading ones. Each succeeding 
picture proves beyond a doubt that he is 
capable of really big things. I admire Mr. 
Cortez immensely and believe he is going 
to be one of our greatest actors. 
Mrs. E. H. K., 

Milwaukee, Wis. 




*#? 



Do You Like to Draw ? 




Copy the picture of the skating 
girl and send us your drawing 
perhaps you will win first prize. 
This contest is for amateurs 
only (17 years old or more), 
so do not hesitate to enter, 
even if you have not had 
much practice. 

1st Prize $100.02 

2nd Prize - - 50.22 

3rd Prize, $25.00 5th Prize, $10.00 
4th Prize, $15.00 6th to 15th Prizes, each $5.00 

D„pp| Everyone entering this contest will re- 
• ceive a beautiful full-color reproduction 
(suitable for framing) of a painting by a nationally 
known artist. 

If your great desire i&V^ "-! 

Capable artists readily earn $50, $75, $100, $150 a week and upwards. 
Hundreds of ambitious young men and women have found their 
true work in life — often have doubled and trebled their incomes — 
through the Federal Home Study Course, recognized by authorities 
as America's Foremost Course in Commercial Art. Exclusive lessons 
by nationally known artists and illustrators; personal, individual 
criticism of each lesson. You should be able to succeed as others 
have done through our course. Enter the contest — see what you 
can do. 

Rules for Contestants 

Contest open to amateurs only, 17 years old or more. Profes- 
sional commercial artists and Federal students are barred. 

1. Draw only picture of skating girl — no border or lettering. 

2. Send one drawing only, making figure exactly 5 1 - inches 

high, on paper 6 inches wide by 7 inches high. 

3. Use only pencil or pen. 

4. No drawings will be returned. 

5. Write your name, address, age and occupation on back of 

drawing. 

6. All drawings must be received in Minneapolis by March 

10, 1925. Prizes will be awarded for drawings best in 
proportion and neatness by Faculty members of Federal 
Schools, Inc. All contestants will be notified of prize 
winners. 



Note: } 



It is not necessary to send 
' -1 orde 
enter tl ! contest. Howe 



or this book in order to 



if you are sincerely interested in 
the highly-paid fascinating field 
of commercial art. our illus- 
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will be immensely valuable to 
you. It explains the Federal 
Course and shows work of stu- 
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1475 Federal Schools Bldg., Minneapolis, Minn. 

Please send me "YOUR FUTURE" for which I enclose 6c in stamps. 
Name 




b 



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Age Occupation 

(Write address plainly in margin) 



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107 
PAG 



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w^r^ 



Advertising Section 




"SHE GETS $50 
A WEEK NOW" 

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she's a real business woman. She came 
here as a typist — just like a score of 
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" 'That girl has a future,' I said to 
myself, and I began watching her work. 
She improved so rapidly that she was 
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Mark and mail the coupon and we'll be glad to 
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INTERNATIONAL CORRESPONDENCE SCHOOLS 
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Without cost or obligation, please send me your 48-page 
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Jamestown, one of the few remaining "hick" towns in Cali- 
fornia that has unpaved streets 



Where the Atmosphere Is At 

(Continued from page 21) 



corner of its eye, it would have shown 
a fleet of summer girls in canoes watching 
the acting. 

The wild, rock-bound coast of the South 
Seas is at Laguna Beach, nine miles south 
of Balboa. This, too, is a popular summer 
resort, but it has a very beautiful and 
very wild-looking assortment of rocks. 
Nearly every South Sea picture has at 
least some of its scenes taken there, altho 
lately the companies have become more 
ambitious and sent actors to the real South 
Seas. 

For the Sahara Desert, they usually go 
to a seashore town named Hueneme (pro- 
nounced Y-nemie), north of Los Angeles. 
The Sheik was made there, and hundreds 
of other Arab pictures. Cecil De Mille 
went still farther north to a small town 
called Santa Marguerita, near Santa Bar- 
bara, when he made the desert scenes for 
Ten Commandments. 

The houses of the scandalously rich are 

found mostly in Pasadena and in Bur- 
lingame, a rich suburb neari San Francisco. 
You would naturally imagine that to get 
permission to use these houses would be 
the location director's worst problem, but 
it is, in fact, his easiest. 

A group of society women and social 
workers in California have an organization 
called "The Assistance League." For its 
charities, it raises funds by renting its 
houses to the movies. When they want a 
rich-looking house, the movies have only to 
telephone to the Assistance League and ex- 
plain whether they are looking for an imi- 
tation Fifth Avenue, a Long Island estate, 
an English country home, or a hacienda of 
California of the days before the Gringo 
came. 

The rental price is usually one hundred 
and fifty dollars per day. This sounds like 
a pretty stiff house rent, but the movies are 
satisfied. Before the Assistance League 
took the matter in hand, they used to get 
some of the houses for nothing; on the 
other hand, one Pasadena woman always 
charged five hundred dollars a day for her 
mansion. 

Nearly all locations are paid for in these 
days. The more responsible companies 
prefer to pay for this reason : it saves all 



disputes as to the damage done. In the old 
days, when they got locations for nothing, 
the owner would come around the next day- 
to the studio with a wail of grief — and a 
bill. The movie cowboys, while chasing 
the owner's cows, had damaged the nervous 
system of one of them — and she was a 
thorobred cow worth a couple of million 
dollars. Xo horse was ever hurt in the 
movies that wasn't a pedigreed stake- 
winner ; no picture was ever knocked off 
the wall that wasn't a masterpiece by 
Rembrandt, and no vase was ever broken 
that hadn't been a gift from the Dowager 
Empress of China to the King of England. 
Wherefore, the movies prefer to reduce 
locations to a stern matter of business. 
They take an inventory ; agree on the price 
of everything beforehand, and it saves the 
laceration of feelings. 

Just finding the locations, alas, is not the 
measure of the grief that the location 
direction has to endure. If a company is 
sent to Arizona and the water does not 
agree with the distinguished turn-turn of 
the leading lady, then the location director 
is responsible because he didn't take bottled 
water along. 

The location director occupies exactly 
the same job that the quartermaster does 
in an army post; and, like the quarter- 
master, he absorbs all the kicks and roars 
and yells and complaints. 

Any company is technically on location 
when a scene is taken outside the studio. 
By custom, every company is obliged to 
furnish meals to the actors if the work is 
going on only a half-dozen blocks from 
the studio. Consequently, the main part of 
the grief of the location director is finding 
hotels that suit them. Not that any loca- 
tion director ever did, or is ever likely to. 

Here, actual transportation has come to 
be a big job. It is a task for an engineer ; 
in fact, some of the best location directors, 
like Fred Harris of the Lasky Studio, are 
engineers. Harris is a chemist, a mechan- 
ical engineer and a civil engineer ; and he 
needs it all. He has learned to be an ex- 
perienced railroad man. I use him as an 
example because, so far as I know, he was 
the first location director in the business 
(Continued on page 112) 



108 



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Advertising Section 



Manufacturers, Distributors 

and Studios of Motion 

Pictures 

NEW YORK CITY 

Advanced Motion Picture Corp., 1493 

Broadway 
American Releasing Corp., 15 W. 44th 

Street 
Arrow Film Corp., 220 W. 42nd Street 
Associated Exhibitors, Inc., 35 W. 

45th Street 
Ballin, Hugo, Productions, 366 Fifth 

Avenue 
C. C. Burr Prod., 135 W. 44th Street 
Community Motion Picture Bureau, 46 

W. 24th Street 
Consolidated Film Corp., 80 Fifth Ave. 
Cosmopolitan Productions, 2478 Second 

Avenue 
Distinctive Prod., 366 Madison Avenue 

(Biograph Studios, 807 E. 175th 

Street) 
Educational Film Co., 729 Seventh 

Avenue 
Export & Import Film Co., 729 Seventh 

Avenue 
Famous Players-Lasky, 485 Fifth 

Avenue (Studio, 6th and Pierce 

Streets, Astoria, L. I.) 
Film Booking Offices, 723 Seventh 

Avenue 
Film Guild, 8 W. 40th Street 
Film Market, Inc., 563 Fifth Avenue 
First National Exhibitors, Inc., 383 

Madison Avenue 
Fox Studios, Tenth Avenue and 55th 

Street 
Gaumont Co., Congress Avenue, Flush- 
ing, L. I. 
Goldwyn Pictures Corp., 469 Fifth 

Avenue 
Graphic Film Corp., 729 Seventh 

Avenue 
Griffith, D. W., Films, 1476 Broadway 

(Studio, Oriental Pt. Mamaroneck, 

N. Y.) 
Hodkinson, W. W., Film Corp., 469 

Fifth Avenue 
Inspiration Pictures, 565 Fifth Avenue 
International Studios, 2478 Second 

Avenue 
Jans Pictures, 729 Seventh Avenue 
Jester Comedy Co., 220 W. 42nd Street 
Kenna Film Corp., 1639 Broadway 
Mastoden Films, 135 West 44th Street 
Metro Pictures, Loew Building, 1540 

Broadway 
Moss, B. S., 1564 Broadway 
Outing Chester Pictures, 120 W. 41st 

Street 
Pathe Exchange, 35 West 45th Street 
Preferred Pictures, 1650 Broadway 
Prizma, Inc., 110 West 40th Street 
Pyramid Picture Corp., 150 W. 34th 

Street 
Ritz-Carlton Prod., 6 W. 48th Street 
Selznick Pictures, 729 Seventh Avenue 
Sunshine Films, Inc., 140 West 44th 

Street 
Talmadge Film Corp., 1540 Broadway 
Topics of the Day Film Co., 1562 

Broadway 
Triangle Distributing Corp., 1459 

Broadway 
Tully, Richard Walton, Prod., 1482 

Broadway 
United Artists, 729 Seventh Avenue 
Universal Film Corp., 1600 Broadway 
Vitagraph Films, E. 16th Street and 

Locust Avenue, Brooklyn 
Warner Bros., 1600 Broadway 
West, Roland, Prod. Co., 236 W. 55th 

Street 
Whitman, Bennett, Prod., 537 River- 
dale Avenue. 



Many new writers 

are selling short stories, 

novels and photoplays 



a.-.OTION PICTURE 

01 I MAGAZINE f) 






THE surest indication of the value of 
the home-study courses in Short Story 
Writing and Photoplay Writing offered by 
the Palmer Institute of Authorship is shown 
in the record of success of its students. 

This record should be an inspiration 
and a guide to everyone who has the price- 
less urge to write. 

It shows that magazines, publishers and 
motion picture producers are eager to en- 
courage the new writer and are quick to 
purchase manuscript which shows careful 
preparation and knowledge of the profes- 
sional technique of writing. 

What Palmer students are doing 

Harry P. Crist acted as as- 
y^Bplu sistant director and collab- 
| \ orated in writing the story 

of "The Modern Musketeer," 
the first production of the 
O. K. Production Company. 

* * * 
In a photoplay contest pro- 
moted by the Universal Pic- 
tures Corporation, W. F. 
Hicks won first and second 
prizes. Upon production of 
his winning stories, "The 
Living Proof" and "The Two 
Roads," he is to receive a 
bonus in addition to the 
prizes. A story by Mr. Hicks 
also appeared in the Decem- 
ber issue of Weird Tales. 




Harold Shumate 
Author of "The 
White Sin." Also 
author of the 
screen versions of 
"The Last Rose 
of Summer," 
"The Moonlight 
Sonata" and 
other photoplays. 
Mr. Shumate 
was formerly a 
bond salesman. 



Mrs. Linne B. Pooley reports that after 
revising her story, "Mother's Kitchen 
Cabinet," in accordance with the instruc- 
tions of the Short Story Division of the 
Palmer Institute of Authorship, she sold 
it on its first submission to The Farm 
Journal. * . * 

A three-act play by John M. Byers, en- 
titled "Shadow Valley," has been accepted 
for production by Carl Carleton, the New 
York producer. 

* * * 

"The Bitter Country," a novel by Anita 
Pettibone, has just been published by 
Doubleday, Page & Co. 

* * * 

"The Open Gate," a stage play which 
recently was given its premiere at the 
Morosco Theatre in Los Angeles, was 
created and written, in collaboration with 
another playwright, by Tadema Bussiere, 
a former Palmer student. 

* # * 
One of our students sub- 
mitted her screen story to 
a world-known author, who 
writes and directs his own 
productions. She received 
the following comment: 

"Thank you for the privi- 
lege of reading the synopsis 
of a photoplay called 'Lotus.' 
Among the innumerable 
synopses I have been more 
or less compelled to read, 
it is almost the only one that thlTnte?^"^ 
seemed to show a knowledge ducted by the 

r ..j Chieapo Daily 

of construction and prac- News. Her pic- 
ticable plot. It is a strong ture was produced 

f , ° by Goldwyn. 

story of great emotional op- 
portunity and the plot is extremely well 
woven. I am turning your synopsis over 
to our Editorial Department with a strong 
recommend ation." 




Winifred Kimball 
Winner of the 



Mrs. Eslie Lathrops's story, "Love Heals 
All Wounds," appeared in the October 
number of Dream World. 
* * * 
HarolrJ Shumate, who wrote "The White 
Sin," 55d the screen version of "The Moon- 
light Sonata," has just completed the film- 
ing of "Silent Appeal." Mr. Shumate wrote 
the story and personally directed the pro- 
duction, which promises to be very successful. 



We have received newspaper clip- 
pings from Mrs. Ida K. Smith, 
announcing the production of her 
play, "Nemesis and the Mayor," 
by the Unity Players of Spring- 
field, Mass. 

* * * 

True Confessions, for December, 
contained a story by Mrs. Edith 
M. Parker, entitled "Mr. Dick." 

* * * 

All of the men and women listed 
above are present or former stu- 
dents of the Palmer Institute of 
Authorship. Some had never writ- 
ten a line for publication before 
they enrolled. Their success is an 
indication of their natural writing 
ability and a tribute to the character 
of training they received. 




Ethel Middleton 

Author of "Judg- 
ment of the 
Storm," one of 
the big screen 
successes of re- 
cent years. Also 
published as a 
novel by Double- 
day, Page & Co 



Well-known writers help you 

The success of Palmer students is due simply and 
solely to the fact that you study under the personal 
direction of men and women who are themselves 
well-known authors and motion picture writers. 

The Palmer Institute will not only teach you 
the professional technique of writing, but through 
its contact with editors and producers can be of very 
great help in enabling you to sell your stories. The 
Institute's Story Sales Department has headquarters 
in Hollywood, with representatives in New York 
and Chicago — the leading literary centers. 

Fifty Free Scholarships and two $500 prizes are 
awarded annually to deserving students. 

Serving on the Advisory Council of the Palmer 
Institute are the following distinguished men: 
Frederick Palmer, author and educator; Clayton 
Hamilton, well-known playwright and author-educator; 
Brian Hooker, formerly of the Faculty of Yale and 
Columbia Universities; Russell Doubleday, publisher; 
Frederic Taber Cooper, author-educator; C. Gardner 
Sullivan, screen writer and director; James R. Quirk, 
editor and publisher of Photoplay Magazine, and 
Rob Wagner, author and motion picture director. 

WRITE FOR THIS BOOK AND 

FREE CREATIVE TEST 

The Palmer Institute is unique among educational 
institutions because it seeks for training only those 
with natural creative ability who can profit by its 
instruction. Therefore, no one is invited to enroll 
for its home-study courses until he or she has 
passed the Palmer Creative Test. 

This test is the most novel means ever devised 
for enabling you to obtain 
an accurate analysis of your 
writing ability. The filling 
out of this Creative Test and 
our analysis and subsequent 
training have enabled scores 
of Palmer students to sell 
stories and photoplays. Our 
Board of Examiners grades 
your reply without cost or 
obligation 

Just mail the coupon and 
we will send the Creative 
Test to you free — together 
with our 96-page book, "The 
New Road to Authorship." 

Palmer Institute of Authorship 
Affiliated with Painter Photoplay Corporation 
Dept. 9-0, Palmer Bldg. Hollywood, Calif. 

Please send me, without cost or obligation, a copy of 
your Creative Test, your 9 6 -page book, "The New Boad 
to Authorship." and full details of the Palmer Scholarship 
Foundation, which awards 50 Free Scholarships annually. 
I am most interested in — 

□ Short Story Writing n Photoplay Writing 

□ English Expression □ Business Letter Writing 




Name.. 



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MAGAZINE. 



109 

PAfl 



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f0M o E',™ R E Advertising Section 

OPF1DMTUNITY MAKKET 



AGENTS WANTED 



Agents — Write for Free Samples. Sell Madison 
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$350.00 to $000.00 a month! You can earn this 
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Want a Government job? $95-$192 month. 
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Make money at home writing show cards. We 

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$2 to $500 Each paid for hundreds of old or odd 
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PATENTS 



Inventors — Write for our free illustrated guide- 
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PHOTOPLAYS 



Send to-day for free Copy AVriter's Digest. 

Tells how to write and sell short stories, photo- 
plays, poems, songs. Writer's Digest, B-22, East 
12th St., Cincinnati. 

Stories and Photoplay Ideas Wanted by 48 

companies ; big pay. Details free to beginners. 
Producers League, 441, St. Louis, Mo. 

$ $ $ FOR PHOTOPLAY IDEAS. Plots ac- 
cepted any form ; revised, criticized, copyrighted, 
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Western Avenues, Hollywood, California. 

Write photoplays. Our books tell you how. Con- 
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Successful Photoplays Bring Big Money. Our 

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STORIES WANTED 



Earn $25 weekly, spare time, writing for 
newspapers, magazines. Experience unnecessary. 
Copyright book free. Press Syndicate, 960, St. 
Louis, Mo. 

Story Ideas Wanted for photoplays and maga- 
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Stories, Poems, Plays, etc., are wanted for pub- 
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Short stories, novelettes, articles, etc., revised 

and typewritten in proper form and placed on the 
market. Send manuscript or write H. L. Hnrsh, 
Dept. 2, Box 1013, Harrisbnrg, Pa. 



VAUDEVILLE 



Get On the Stage. I tell you how ! Personality, 
confidence, skill developed. Experience unneces- 
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Los Angeles, Cal. 



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, FRANKLIN INSTITUTE, 
, Dept. A-254, Rochester. N. Y. 
J Sirs: Send me without charge (1) Specimen 
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o. (-) List of Government jobs obtainable; (3) 
O Send sample coaching lessons and free book, 
o "JIow to Get Government Jobs." 



Co' 

Lagl 



Styles Are Dictated in 
Hollywood 

{Continued from page 29) 

And this from the sumptuous Swanson. 
Gloria, the gorgeous, the most exotic of 
all the screen's silken women! If she did 
not know herself, no wonder Mrs. Smith, 
Mrs. Jones and Mrs. Robinson dress un- 
suitably. 

Frenchwomen make a study of clothes 
fro.ifl the moment the doctor announce-. 
"It's a girl!" Too often American women 
look as tho they said, "Clothes, I'm 
going to a party. Stick on if you can!" 
But the movies are educating them to 
observe style, fabrics, and details of dress. 
"In costuming a picture we have to think 
what will look well in two or three years 
as well as now," says Mrs. Chaffin, who 
makes the clothes for Aileen Pringle, 
Eleanor Boardman and Norma Shearer. 
"Nothing is smart unless it is becoming 
and suited to the individual, and anything 
that is becoming will still be becoming five 
years from now.'' 

Paris is cutting off the skirts at the bend 
of the knee now, she points out, but the 
Goldwyn stars will wear long skirts in 
their forthcoming pictures. This is no re- 
flection on the Goldwyn legs, but long 
skirts are pictorial and graceful, while 
short ones are not. In Cheaper to Marry, 
a picture of smart modern life, there is 
one short evening dress to a dozen long 
ones. Tn five pictures being costumed by 
Mrs. Chaffin all the gowns are smart — 
and no two of them are alike ! 

If the screen teaches women anything 
in the way of style, it will be to dress not 
according to what the suit-and-cloak manu- 
facturers tell them is smart, but according 
to their own individuality, the Goldwyn 
designer believes. 

One of the actresses in Cheaper to 
Marry is Paulette Duval, a French girl. 
The gowns planned for her are extreme 
to the point of freakishness, but they suit 
her bizarre personality — backless gown?, 
with the skirt supported by suspenders 
of beads ; a black dress with a front and 
back but no sides ; a street dress with 
sleeves on the lower part of the arm only 
and a bare neck and high collar. The 
wardrobe planned for Eleanor Boardman. 
on the other hand, is simple, dainty and 
girlish to suit her type. 

The modes of the moment do not 
trouble Mrs. Chaffin. An artistic gown 
never is in style and so will never be out 
of style, she reasons. Eor this very reason 
William de Mille prefers draped costumes 
for his pictures. You couldn't date your 
letters by them, but a William de Mille 
picture four years old is not absurd. Cecil 
De Mille's costumes, startling and exotic, 
are in their way quite as undated. They 
might have been worn to the Feast of 
Belshazzar. or they might as appropriately 
trail their sinuous trains over the polished 
parquet of New York's most exclusive 
supper club. 

Of course, to be quite candid, most 
screen clothes could only be worn by 
screen stars. Remember the fatal results 
when the slink vamp mode, adopted by 
Nita Naldi and other sirens of the screen, 
was copied by ladies not designed by 
nature to slink ! Screen clothes, like 
movie plots and photoplay titles, are de- 
signedly sexy, or as one studio designer 
put it. "We accent the sensuous values." 
Imagine a society woman of embonpoint 
trying to carry off one of Mae Murray's 
poster gowns ! Blue blood may be an 
asset in getting into the smart set, but not 
in getting into one of Gloria Svvanson's 
dinner dresses. In this respect the screen 



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Advertising Section 



(^".MOTION FICTURr 

IrlCIl I MAGAZINE t 




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Negligees give the imagina- 
tion of the studio designer 
a chance to run riot 

is like the showroom of Worth or Paquin, 
whose creations are not intended to be 
copied but merely to be adapted to practi- 
cal use. 

Mrs. Smith, whose wildest form of 
dissipation is the neighborhood bridge 
club, would hardly find one of Aileen 
Pringle's costumes suited to her needs, but 
the way the trimming is put on the skirt 
may give her an idea for remodeling her 
charmeuse. Even Mrs. Robinson, who 
leads in local society affairs, could hardly 
compete with Pauline Frederick in a 
dinner-dress where liquid powder takes the 
place of so much material, but she might 
copy her color scheme. 

^'hen Claire West costumed Intolerance 
she became the first studio designer. She 
took the place of the Wardrobe Woman, 
whose duty was to "take in" the ready- 
made clothes in the lockers, or to "let them 
out" to suit differing waist measures. 
Many of the earlier screen gowns were 
simply lengths of material pinned in place 
with safety-pins. Now every gown worn 
by a woman member of the cast in the 
pictures of the larger companies is 
especially designed and an original model. 
Even the rags and tatters worn by the 
stars are carefully planned and lined with 
silk before they are allowed to touch high- 
salaried skins. In spectacular society 
scenes the extras are also costumed so to 
be in harmony with the whole. 

Miss West's fan mail averages several 
hundred letters a day begging for in- 
structions to copy the dress that Connie 
Talmadge wore in the dinner scene in 
The Goldfish, or asking where a pattern 
may be procured for the negligee Norma 
wore in the fourth reel. 

"The screen does not follow any style 
— it is the style !" declares the First Na- 
tional artiste. Among the fashions she has 
started by a screen costume is the use of 
ostrich-feathers as trimming^ which she 
devised for a dress worn by Claire Wind- 
sor in For Sale more than a year and a 
half ago. Now, even the mail-order cata- 
logs show ostrich-trimmed dresses which 
the farm woman may send for on the same 
list as her husband's cream-separator or 
with cans of auto enamel for Fords. 



X/TONTHS before Paris 

skirts Miss West was 

for First National pictures. 

(Continued on page 116) 



decreed short 
making them 
In her ward- 




i: Alt IE E. LIEDEKM AN 

The Muscle Buihler 

How Long 

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Make your own answer. It's up to you. I know von 
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If you take care of an automobile it will last for years — 
abuse it and you might as well cash it in after the first 
year. This is .just as hue of your own body. 
IF YOU DO — YOU DIE 

flo ahead witli your careless living if you want Eat. 
Unci drink what von like. Abuse your body — it's yours 
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Where trie Atmosphere Is At 

(Continued from page 108) 

and even now has the heaviest job, the 
Lasky company being very strong for out- 
door pictures. 

pOR instance, Harris was just sending out 

a company the day that I spent in his 
office. It was going to the Yosemite ; he 
was assembling a train like a circus. It 
included two baggage-cars to carry the 
props and the personal wardrobes ; two 
specially built power cars to carry the 
electrical equipment and the motors ; for 
the actors there were four compartment 
cars. 

A little later that day he gave orders for 
an expedition that was to take the Peter 
Pan company to the Santa Cruz Islands to 
take the pirate scenes with Captain Hook. 
This island is not visited by steamers and 
is a barren sheep range. Consequently he 
had to send cook-stoves, tables and so on. 
Also he had to see that the old pirate ship 
used by Frank Lloyd in The Sea Hau'k 
was made over into the Peter Pan pirate 
ship ; that it was slid over the bar at Balboa 
before the tide went out. As there would 
be a multitude of children working in the 
Peter Pan scenes, he had to assemble 
twelve champion life-guards from the va- 
rious beaches to go along to fish them out 
of the water when occasion arose. Also, 
for every child actor, he had to make pro- 
vision for an accompanying mamma. 

In order to protect the infant stomachs, 
he had to provide five hundred casks of 
distilled water and enough preserved milk 
to start a couple of dairies. 

Also he had to dig up a barge big 
enough to float an eight-ton power wagon 
to provide the electric lights. 

P'Erhaps the biggest location job in the 
•history of motion pictures fell to Har- 
ris : this was staging The Covered Wagon. 
There were no locations in California 
that suited, so they took the whole outfit 
to Utah. There were so many people to 
feed that he had to build a road and in- 
augurate a regular motor-truck line which 
ran on a train schedule. Tents had to be 
provided for three tribes of Indians and a 



112 



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■■■ 



Advertising Section 



OT.M0TI0N PICTURI 

iflBI I MAGAZINE 



raft of actors. He even had to start a 
regular camp post-office. 

Among other things, the location director 
had to see to it that four hundred covered 
wagons were provided, and four hundred 
yoke of oxen. This problem was solved 
in a way that would have astonished the 
staid New England ox tamers. The cow- 
boys simply roped the steers, put their 
heads in the yokes, tied their tails together 
and let them scamper around until they 
decided to be good. 

And the irony of it all was this : that 
the bitterest criticisms that have been 
poured upon The Covered Wagon have 
been from old plainsmen and former army 
officers. They wildly protest against The 
Covered Wagon because they say that four 
hundred wagons never were known to 
cross the plains in a single caravan ; they 
couldn't find pasturage for that many oxen. 
The largest number of wagons ever Jcnown 
to have crossed in a body was sixty-five, 
and they divided into three columns, travel- 
ing four to five miles apart. So, in the 
end, the location director, who has been 
abused so many times for not doing well 
enough, brought disaster down upon his 
neck for doing too well. 



Picking Actors for Parts 

{Continued from page 63) 

nine times out of ten to Dick Sutherland — ■ 
the man with the huge face and bearlike 
paws — the cook who made grotesque love 
to Pola Negri in the first episodes of Men. 

(~)ne of the most extraordinary actors in 
Hollywood is Jean Hersholt, who 
takes the part of the constable in von 
Stroheim's Greed. He and Tully Marshal 
are regarded as the most sure-fire of all 
actors for parts in which it is desired to 
create a finished portrait of a secondary 
character. They are especially valued by 
a casting director to carry either an ac- 
tress not quite experienced, or an actress 
who, for the moment, is stepping out . of 
her own "stuff" for a scene. Hersholt 
was, for instance, an invaluable foil for 
Constance Talmadge in scenes where 
weight and definite characterization were 
needed as a foil for Connie's gay comedy. 

7 AZ u Pitts, of course, is without a rival 
^- on the screen for wistfulness and pity. 
Dale Fuller is another girl who has a line 
no other actress seems to have quite 
equaled. Dull despair — the deceived ser- 
vant girl. 

The casting directors tell me, however, 
that they have to exercise great care with 
both these women, lest they "steal" the 
picture. Their work is so vivid and their 
portraiture so unusual that only the strong- 
est individuality in the way of a leading 
woman can stand against them and not be 
overwhelmed. 

"There is one actor who excels in a line 
of parts that he frankly hates and rebels 
against. No casting director would ever 
think of picking out an actor for a tough 
Chinese highbinder part without calling 
up Edward Peil. He started with these 
parts in D. W. Griffith's Broken Blossoms; 
he never has been able to shake them. He 
wildly and frantically appeals to the cast- 
ing directors ; he doesn't want to be a 
tough Chinaman ; never wanted to be. But 
he seems to be sentenced for life to the 
Orient. 

"There are a number of actors who are 

hard to classify, but who are in great 

demand. For instance, Wally Van is of 

great value in parts like the bosom friend 



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113 
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Advertising Section 

of a hero where the actor, playing the 
hero, i.- a little inclined to be stodgy. He 
has a certain lively, inconsequent gaiety 
that carries along the action. 

There are not many leading men and 
women who are available for the casting 
directors ; most of the very popular ones 
are under contract. One of the most 
sought for is. Anna Q. Xilsson. She has 
an amazing versatility, a big box-office 
name, and she is very easy to work with. 
She ha> the sure touch of the finished 
expert. She knows the' job so thoroly that 
she is a great time-saver. And time, as 
everyone knows, is where the expense 
comes into picture-making. 

"There are other resources of the casting 
directors of which the public does not 
know — and does not dream. For instance, 
there is a girl, now in the Sennett Studio, 
named Cecile Evans who has been the 
lees of manv and manv a famed leading 
lady. 

-On account of Cecile's exceptional un- 
derpinning, the directors often photograph 
the leading lad*' in the bathing-suit at long 
range ; but when they have to insert a 
close-up of her bare legs in the bathing- 
suit, the legs really belong to Miss Evans. 
Just so, there is a stenographer in the 
office of one of the press-agents in Holly- 
wood with unusually beautiful hands. 
When the 'beauteous heroine opens the 
fateful letter, it is just as likely as not 
that it is this girl who furnishes the hands 
that you see in the close-up. 



There are actors, for instance, much in 
demand for reasons beyond their ob- 
vious talents. Robert Frazer is very popu- 
lar with leading women and stars because 
he "gives"' a lot. This is a quality diffi- 
cult to explain. As the theatrical slang 
phrase is, he "feeds" them. The trouble 
with many leading men of great ability is 
that they either try to pull attention to 
themselves, or, on the other hand, leave 
the girl to go it alone. 

Johx Bowers is another leading man 
with interesting qualifications. He 
moves easily from rough he-man stuff to 
dress suits. 

Tony Moreno. Bowers. Frazer, Conrad 
Xagel, Forrest Stanley and several other 
leading men have this special appeal to 
casting directors : they arc young enough 
to have great romantic charm, but not 
young enough to be embarrassing to lead- 
ing ladies past the chicken stage. 

This list that I have given is admittedly 
an injustice to hundreds of capable finished 
actors. It is designed more to show the 
problems of a casting director than to give 
the actors deserved credit. I intended to 
show how the casting director sits like 
one playing a pipe-organ, pulling now this 
stop, now that one. These names, that I 
have given are those that chanced to come 
up in casual conversation with the casting 
directors. The names of the best-known 
screen actors have been omitted for the 
reason that most of them are under con- 
tract and not available for casual "hiring.'' 



Wkat the Fans Write to the Stars 



(Continued from page 85) 



Doug and Mary's fan mail includes sev- 
eral kings and queens and many lesser 
fry, such as dukes, barons, princes and 
presidents. 

A little crippled girl in a hospital has 
been corresponding with Lew Cody for 
several years. Lately she wrote him that 
they had amputated one of her legs. "But 
when you come to see me again," she 
wrote, "I will sit in my chair with a 
blanket over my knees and you will never 
notice that I have only one leg!" 

Notice the "again" ! A heart of gold 
beats under Lew Cody's villain's waist- 
coat! 

Fan mail has many curiosities. Agnes 
Ayres received an offer of marriage, 
grandiloquently worded, from a real Arab 
sheik, who made the mistake of accom- 
panying it with his picture. He did not 
resemble Valentino, but Agnes felt com- 
plimented at her conquest — until she dis- 
covered that Xita Xaldi and Aileen 
Pringle had both received the same pro- 
posal from the same gentleman! Evi- 
dently he was collecting a harem. 

Cecil B. De Mille gets many letters 
praising his wonderful screen acting. 
Betty Bronson has just appeared in pic- 
tures, but she has had thousands of fan 
letters beginning, "I go to see every one 
of your pictures and think you are won- 
derful.'' 

Reginald Denny, no doubt because of 
his athletic roles, is the movie idol of 
many small boys and college youths. One 
wrote him the other day that he came to 
Hollywood from Philadelphia just to see 
him, worked as extra in one of his pic- 
tures and went home happy because "you 
smiled at me one day when I called 'Hi, 
Denny I' " 

Fans are often cultured men and women. 
Lois Wilson has corresponded with a 



college professor for five years ; the work 
of Theodore Von Eltz, Conrad Nagel, 
Milton Sills and Irene Rich calls forth 
mail with university letter-heads. But 
truth compels the writer to confess that, 
on the whole, English fans write a higher 
type of letter, better spelled and expressed. 
American fans are in a hurry about their 
adorations and enthusiasms, as well as 
about everything else. 

As I said in the beginning, this article 
is about You. You who scrawl off a 
hasty note to movie stars, who say you 
saw them in a picture they weren't in, 
who flatter instead of commend and insult 
instead of criticize. You, who write in 
pencil on lined pad paper, and spell "won- 
derful" with two l's and forget to enclose 
for inclose) postage. If the shoe does 
not fit you. dont put it on ! 

If I were to write a set of Command- 
ments for Pans, as a result of my investi- 
gations, they would go somewhat like 
this : 

Dont ask for money — get a tin cup 
and stand on the street corner. It's 
more honest. 

Dont beg for help to get into pic- 
tures. Marry the hard-working young 
druggist or the nice little girl next 
door, and take them to the pictures 
twice a week at the Palace, instead. 

Dont expect sympathy and advice. 
Movie stars have more troubles than 
other people — they can afford more. 

Dont tell a handsome movie hem 
you love him. The chances are his 
wife reads his fan mail and will put 
your heart-throb in the waste-paper 
basket. 

Dont name your children after 
(Continued on page 126) 



114 

AGE 



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....OTION PICTUR 

101 I MAGAZINE 




What I Can Read in the Faces 
of the Film Stars 

{Continued from pages 54 and 55) 
ADOLPHE MENJOU 

appearance, and is quick to notice the per- 
sonal appearance of others. He likes 
people, but at times prefers solitude, and 
always enjoys reading a good book. He 
has an even disposition and is most con- 
siderate of others. He is also acquisitive, 
highly ambitious, and very intense. Mr. 
Menjou is cautious and reserved ; a splen- 
did judge of women and human nature in 
general. 

ANNA Q. MLSSON 
justice and fairness and honest}-; she 
would fight for a principle. 

Her nose indicates a very observing na- 
ture, one who particularly notices clothes. 
Here, too, there is found a good imagina- 
tion, constructive ability, intuition, a dis- 
like of petty details, and a lack of aggres- 
sion. She has the ability to learn quickly 
from everything she sees and hears. She 
looks for reasons and motives of things. 

The hands show high inspiration, a love 
of the artistic and the beautiful, a strong 
will, and logical thinking. 

In making a summary of her character. 
I find that Miss Nilsson is a very kind, 
considerate young woman, one who is in- 
terested in people, who feels deeply and is 
highly emotional. She is a person of 
character, very lovable, and deserves all 
her success. 

BESSIE LOVE 

The hands show inspiration, a love of 
order and neatness, independent thinking. 
She is usually tactful, but with her friends 
she is frank and outspoken. 

In making a summary of her character, 
I find that Bessie Love is a very friendly 
person who likes people and enjoys talk- 
ing. She does not like to be alone, but 
prefers company and the companionship of 
others. She is neat, orderly and particu- 
lar about her clothes and personal appear- 
ance. She is a very persevering, industri- 
ous person and a born optimist. 

MILTON SILLS 

an urge to use them. I firmly believe 
that he will be most successful in any 
executive capacity in which he is placed, 
for he has the necessary qualifications 
for such work. 

His hands show- inspiration and dra- 
matic ability. When he is interested in 
anything, he is interested even to the 
smallest detail. 

In summarizing his character I find that 
Milton Sills is an active, restless person 
with highly developed mental faculties. He 
prefers a good book to people, unless the 
people are interesting. He is not alwavs 
as considerate of others as of himself. 
Mr. Sills would be as successful as a 
director as he is as an actor, and to be 
the former would give him more pleasure, 
as his latent ability for executive work is 
great and should be used. 





I 



Mits Crawford weighed Z3S lbs. She gives Wallace credit for her reduction to ISO lbs. 

"Can I Reduce?" 

Ask Miss Crawford! 



Imagine taking off eighty-five pounds in four 
months! 

Miss Crawford used Wallace reducing records 
to play off this huge excess of weight, and this 
is what she has to say of Wallace's method: 
"The day my weight reached 235 lbs. was the 
date of my awakening. I sent for the free trial 
record and put in one earnest week of daily 
use, and that week I lost eight pounds. I kept 
on, of course. I used the movements faithfully, 
and nothing else. I didn't take any medicine, 
I didn't starve myself, and lost at least five 
pounds each week. My present weight is- 150. 
Whenever I find that superfluous flesh is creep- 
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If you weigh too much, you owe yourself this 
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two years ago. She is a Chicago lady, her 
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But a better way is to start reducing with the 
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Advertising Section 



Sunny Hair 

I don't know how it conies 

By Edna Wallace Hopper 

My hair glistens like a halo. All who see 
me on the stage or elsewhere know that. 
Thousands of girls and women envy that 
amazing glint. 

It comes to me through a shampoo which 
wonderful men created, but they won't tell 
me how it comes. They say that is their 
secret. They use some rare ingredient 
which nobody else has yet found. 

But they have long made this shampoo 
for me, and now they are making it for you. 
They will not tell me why it makes hair 
sunny, so I cannot tell you. But it does. 

They prepare it for me under the name of 
Edna Wallace Hopper's Fruity Shampoo. 
Druggists and toilet counters now supply it 
at 60 cents per bottle, and under my guaran- 
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I urge you to try it. No shampoo in all 
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I want you to see what it does. It will be 
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My Rosy Bloom 

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My marvelous complexion is the chief item 
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Now all toilet counters supply that cream 
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Styles Are Dictated in 
Hollywood 

{Continued from page 111) 

robe racks now hangs a wonderful eve- 
ning coat of gold cloth with a train several 
yards long, trimmed with sable fur com- 
bined with feathers of the same shade, 
which Xonna will wear in her next pic- 
ture. It will not be seen on the screen for 
six or eight months, but a year from now, 
Claire West predicts, it will be seen in the 
opera, in the boxes at the horse show, and 
in the smart supper places. 

She has just designed and had made 
thirty- four costumes for the Merry 
W-idozv, complete to hats, shoes, gloves, 
head-dresses and jewelry. The Colonel's 
Lady and Miss Mae Murray may be sisters 
under their skins, but they cant wear the 
same things above them, that's certain! 
However, it is safe, to predict that these 
thirty-four gowns will be translated into 
terms of Stylish Stouts, For the School- 
girl, What the Well-Dressed Woman Will 
W r ear, and even Basement Bargains ! 

More than a year ago Howard Greer, 
sitting at his desk in the dingy frame 
building on the Lasky lot, sketched an en- 
semble costume for Dorothy Cummings 
to wear in The Female. Paris had never 
heard of them then. Now they are for 
sale at every department store and specialty 
shop, referred to by the salesladies vari- 
ously as "ongsomble," "unsumbul" and 
"ensemb." 

"The clothes we design up here," says 
the Famous Players' fashion expert, "are 
one year ahead of Paris, and two years 
ahead of the manufacturers." 

It may be said by the facetious that 
screen clothes are so far ahead of Paris 
that Paris never catches up with them ! 
Here, then, are some prophecies : Mr. 
Greer is sponsoring the directoire style, 
the empire waist that comes up under the 
bust, and he believes that by dressing two 
of the most popular and spectacular film 
stars in this mode he can make it the 
fashion for American women. So Pola 
Negri and Betty Compson are to wear 
high-waisted gowns in forthcoming pic- 
tures. Betty's empire dresses are for 
Locked Doors, which is not scheduled to 
be shot for several months. The styles of 
today do not interest Howard Greer ; he 
is already planning the styles for day- 
after-tomorrow. 

A tunic bouffant over a straight slip has 
been O. K.'d by Pola Negri for a picture 
scheduled to start production a year from 



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116 

GB. 



Every advertisement in MOTION PICTURE MAGAZINE is guaranteed. 



Advertising Section 



« K^ 



now. This star does such emotional work 
that her costumes are in rags after a single 
picture and the limp remains are sold at 
jhe yearly rummage sale in the Lasky 
wardrobe rooms, where fat Jewish women 
with waist-lines like the equator — purely 
imaginary — fight for possession of them. 

Screen designers are at a disadvantage 
in one way, for color shows in the pic- 
tures only in shades of black, white and 
gray. On the other hand, they can use 
unorthodox materials. A recent gorgeous 
court costume was lavishly embroidered 
with — Christmas-tree tinsel! 

Various women stars have claimed the 
title of Best Dressed Star of the Screen — 
Corinne Griffith, Betty Blythe, Mae 
.Murray, Gloria Swanson, Betty Compson, 
Irene Castle. Sometimes you have seen 
their pictures dressed in Dainty Maid 
Dresses or Sweet Sixteen Suits, but they 
do not in general buy their clothes by 
filling in measurements on enclosed mail- 
order blanks. Betty Blythe brought back 
ten trunks of Paris gowns with her from 
her recent trip abroad ; Corinne Griffith 
ransacked the exclusive shops of Fifth 
Avenue for her wardrobe for Declassee, 
but by far the greater part of their screen 
gowns are made in studio workrooms, 
with the shades pulled down toward Paris. 

Mr. Levinski and Mr. Rubenstein will 
no doubt continue to make their yearly 
trips across the water and carry model 
gowns out of the front doors of the great 
French dressmaking establishments, whi|e 
the great French designers leave by their 
back doors to attend the cinema showing 
the latest style ideas, as displayed on the 
so-marvelous figure of La Belle Mae 
Murray, or La Petite Gloria Swanson. 

Which does not necessarily mean that 
the next time a screen star develops 
bunions we shall all be wearing cloth- 
sided shoes. 



On the Camera Coast 

(Continued from page 103) 

"singe bob." It seems that she was ex- 
perimenting with a new - fangled gas- 
heater in her home. The flames blew out 
into her face, setting her silk lingerie on 
fire, burning off her hair and eyebrow-;. 
By some miracle she escaped being blinded. 
Lois got an oil rub and went back to 
work the next day. "I'm all right," she 
said, "but I feel like a singed turkey." 

A gas-heater also exploded in Harold 
Lloyd's house, setting on fire the room 
where the Lloyd's chauffeur was sleeping. 
At the risk of his own life, Harold went 
into the room and dragged the man out. 
He would have inevitably been burned 
to death, but for this desperate chance 
that Lloyd took to save him. 

VI/ith two former husbands in Los 
Angeles and a fourth marriage wait- 
ing court action, the marital affairs of 
Barbara La Marr would seem to be a 
trifle complicated. As a way out, Jack 
Daugherty, the vampire's third and latest, 
has arranged to bring a friendly divorce — 
to clear the boards as it were. "Miss 
La Marr and I are suited to each other- 
as friends," he said, "but not as husband 
and wife." 

TOert Lytell has joined the ranks of the 

• leading men who yearn to be directors. 

Milton Sills and Monte Blue are both 

anxious to become directors. Mr. Blue 

says that D. W. Griffith promised him 

long ago to take him under his wing 

when he decides that the time has come. 

Elinor Glyn selected Victor Schertzinger 

(Continued on page 128) 



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Advertising Section 

What the Stars Are Doing 

(Continued from page 80) 

Frazer, Robert — recently completed work in Miss 
Bluebeard— F. P. L. 

Frederick, Pauline — recently completed work in 
Married Hypocrites — U. 



Garon, Pauline — playing in Speed — B. P. 

Gendron, Pierre — will be seen opposite Shirley 
Masonin The Scarlet Honeymoon — YV. F. 

Gibson, Hoot — playing in The Saddle Hawk — U. 

Gi'bert, John — has Snally been selected for the 
role of Prince Danilo in The Si err y Widow — M. G. 

Gillingwater, Claude — plaving in Cheaper to 
Marry— M. G. 

Gish, Lillian and Dorothy — vacationing since 
returning from Italy where they filmed Romola. their 
latest release — M. G. 

Glass, Gaston — playing in Parisian Nights for 
F. B. O. 

Godowsky, Dagmar — playing in Playthings of 
Desire — J. P. 

Gordon, Huntley — plaving in Ne'er the Twain 
Shall Meel—C. P. 

Goudal, Jetta — just starting work in The Span- 
iard— F. P. L. 

Grey, Gloria — playing opposite Maurice B. Flynn 
in The Millionaire Cowboy — F. B. O. 

Griffith, Corinne — has just started work in 
Declasse — F. N. 

Griffith, Raymond — recently completed work in 
Miss Bluebeard— F. P. L. 



-playing in Capital Pun- 
117(0 Cares? — 



Hi 

Hackathorne, Georgi 

ishment — B. F. S. 

Haines, William — playing 
C. B.C. 

Hale, Alan — upon completing his work in Dick 
Turpin. he is going to try his hand at the megaphone. 
He will direct Shirley Mason in her next picture 
for W. F. 

Hale, Creighton — will enact the role of a man 
who is falsely accused of crime and deserted by all 
his friends, except his faithful and courageous wife, 
in The Bridge of Sighs — W. B. 

Hamilton, Mahlon — will be seen in the next 
Pathe serial called The Girl Vigilante. 

Hamilton, Neil — is cast for an important role in 
William de Mille's Men and Women for F. P. L. 

Hammerstein, Elaine — plaving in Parisian 
Nights— F. B. O. 

Harlan, Kenneth — has been chosen as a perfect 
foil opposite Bebe Daniels in The Crowded Hour — 
F. P. L. 

Harris, Mildred — playing opposite Harry Carey 
in Beyond the Border— P. D. C. 

Hatton, Raymond — playing in The Thundering 
Herd—F. P. -L. 

Haver, Phyllis — playing in The Interpreter's 
House— F. N. 

Hawley, Wanda — plaving in II7;o Cares? — 
C. B. C. 

Hay, Mary — Richard Barthelmess has chosen his 
wife for the feminine lead in New Toys. This is her 
first appearance on the screen since she played in 
Griffith's Way Down East. 

Herbert, Holmes E. — plaving in A Man's World 
— M. G. 

Hiers, Walter — will give us some rare bits of 
comedy in The Trijlers — B. F. S. 

Hines, Johnny — just started work in The 
Cracker Jack — G. C. B. 

Holmes, Stuart — playing in The Fighting Cub — 
A. E. 

Holmes, Taylor — returns to the screen in a light 
comedy role in Viennese Madness — P. D. C. 

Holmquist, Sigrid — plaving in School for Wives 
—V. 

Holt, Jack — plaving in The Thundering Herd — 
F. P. L. 

Howard, Frances — having completed The Swan, 
has been cast for the leading role opposite Richard 
Dix in The Maker of Gestures — F. P. L. She will ap- 
pear as a Basque girl and will wear a black wig over 
her blonde curls. 

Hughes, Lloyd — plaving the leading male role in 
Sally — F. N. 

Hunter, Glenn — has been disengaged since com- 
pleting The Silent Watcher — F. N. 



Johnston, Julanne — is playing in Sir Phillip 
Gibbs' City of Temptation. It is being filmed in Con- 
stantinople by an English producing company. 

Jones, Charles — playing in The Trail Rider — 
W. F. 

Joy, Leatrice — has finally consented to return to 
the screen after nearly two years' absence, which 
she has devoted to Baby Leatrice. Her first pic- 
ture upon her return will be The Dressmaker from 
Paris— F. P. L. 

Joyce, Alice — appearing in the screen version of 
Daddy-Goes-A Hunting, to be released under the 
title of A Man's World— M. G. 

K 

Kcaton, Buster — is cast as a young man who will 
inherit s. -. ;n million dollars if h; will nrjrrj within 
twenty-four hours in Seven Chances — M. G. 



MAH JONG 

Learn This 
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Advertising Section 

"Keenan, Frank — playing Judge Roberts, a Ken- 
tucky gentleman, in The Dixie Handicap — M. G. 

Keith, Ian — playing in My Son — F. N. 

Kennedy, Madge — alternates between the stage 
and the screen. Her screen fans will be glad to wel- 
come her back in Bad Company, filmed under the 
title of The UltimateGood, in which she appears oppo- 
site Conway Tearle for A. E. 

Kenyon, Doris — is back in New York, and glad of 
it too, to play the leading role in The Interpreter's 
House— ¥. N. 

Kerry, Norman — has the juvenile lead in The 
Phantom of the Opera — U. 

Key, Kathleen — is playing Ben Hur's sister, 
Tirzah, in Ben Hur — M. G. 

Kirkwood, James — has deserted the screen for a 
while to appear in David Belasco's play, Ladies of 
the Evening. His latest screen appearance was in 
Top of the World— F. P. L. 

Kosloff, Theodore — playing in New Lives for Old 
—F. P. L. 



Lake, Alice — playing in TheFast Pace — J. P. 

La Marr, Barbara — will next appear in Hail and 
Farewell instead of The Second Chance, as previously 
announced — F. N. 

Landis, Cullen — is cast as George Minafar in 
Pampered Youth — V. 

La Plante, Laura — has just returned from Hono- 
lulu where the exteriors were filmed for Dangerous 
Innocence — U. 

La Rocque, Rod — has sailed for Paris, where lie 
will appear opposite Gloria Swanson in The Coast 
of Folly— F. P. L. 

Lee, Lila — has just arrived in New York to play 
the feminine lead opposite Thomas Meighan in Com- 
ing Thru — F. P. L. This is her first picture since the 
birth of James, Jr. 

Lewis, Mitchell — playing in Trapped in the Snow 
Country— W. B. 

Lewis, Ralph — added to the cast of The Re- 
creation of Brian Kent — P. P. 

Livingston, Margaret — playing in Capital Pun- 
ishment — B. F. S. 

Lloyd, Harold — is just starting work on his new 
comedy, which deals with college life. 

Logan, Jacqueline — has returned to Xew York 
to play the lead in The Great Air Mail Robbery — 
A. E. 

Long, Walter — playing in The Fighting Cub — 
A. E. 

Louis, Willard — playing in The Broadway Butter- 
fly — VV. B. 

Love, Bessie — recently completed her role of tlie 
half-breed in Tongues of Flame — F. P. L. 

Lowe, Edmund — plaving in Trailing Shadir.cs — 
W. F. 

Lyon, Ben — will next be seen in The One Way 
Street for F. N. He has a new leading lady for every 
picture — this time it's Marjorie Daw. 

Lytell, Bert — has been chosen by Ernest Lu- 
bitsch for the leading male role in his next production 
forW. B, ' 



„, rl 0TI0N PICIURI 

101 I MAGAZINE 



M 



Mackaill, Dorothy — plaving in One Year to Live 
— F. X. 

MacLean, Douglas — is just starting work on his 
next comedy, Introduce Me — A. E. 

Marlowe, June — is starting work in Trapped in 
the Snow Country, in which Rin-Tin-Tin will be 
starred — W. It. 

Marmont, Percy — playing in A Man's World— 
M. G. 

Marsh, Mae — decides after every picture she 
makes to desert the screen, but producers are always 
tempting her with attractive offers and she cannot 
help but accept them. J. Stuart Blaekton has just 
signed her up to appear in his next production. The 
Garden of Charily — V. 

Marshall, Tully — playing Sandoja in The Merry 
Widow— M. G. 

Mason, Shirley — playing in The Scarlet Honey- 
moon — \V. F. 

Mayo, Frank — playing in The Triflers — B. F. S. 

McAvoy, May — has gone to Italy to appear oppo- 
site Ramon Xovarro in Ben Hur — M. G. 

McDonald, Wallace — has fulfilled an eight-year- 
old ambition to appear in a F. P. L. picture. He will 
be seen opposite Betty Compson in New Lives for 
Old. 

McGrail, Walter — plaving in Trailing Shadows — 
W. F. 

McGregor, Malcolm — playing opposite Florence 
Yidor in Girl of Gold — R. P. 

McGuire, Katherine — plaving in Find tin- Man 
— U. 

McKee, Raymond — playing opposite Clara Bow 
in Free to Love — B. P. S. 

Meighan, Thomas — has the role of a clerk in a 
large steel corporation who works his way into the 
heart of the president's daughter in Coming Thru — 
F. P. L. 

Menjou, Adolphe — after a short vacation he is 
back on the set working in .4 Kiss in the Dark, taken 
from the famous Broadwav success. Aren't We All.' 
— F. P. L. 

Merriam, Charlotte — playing in Pampered 
Youth— V. 

Miller, Carl — playing in The Redeeming Sin — V. 

Miller, Patsy Ruth — has recently completed 
work in .4 Husband's Secret, formerly called Judg- 
ment — F. N. She has been assigned the leading role 
opposite House Peters in Head Winds — U. 

Mills, Alyce — has an important part in School 
for Wives— V. 

(Continued on page 122) 




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119 
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nMOTION PICTURP 
rlCJI I MAGAZINE L 




HEARD 
IN THE 



"Hello, Dick! The party's on me tonight. Just 
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Advertising Section 
Whose Hand ? 

{Continued from page 93) 

the room and felt its way toward them. 

As Mrs. Bellew's choked terror was re- 
leased in screams, Quinlan lunged forward 
and seized the intruder. Margot fumbled 
for the light, switched it on. She saw a 
girl with a drawn, pale face — a black- 
browed, sullen-lipped girl, who was utter- 
ing no sound of fear or pain, as the police- 
man standing behind her held her arms 
pinioned to her sides. Then Margot's 
eyes fell upon this strange one's arms, and 
her heart sickened. One hand was 
clenched. The other arm had no hand. 
It had been cut off at the elbow, and the 
scar of the freshly healed wound made 
a grim patch of color. 

"It's Stella Ball !" shrieked Mrs. Bellew. 

"The girl who lived in this room?" 
gasped Margot, thunder-struck. 

"Herself Oh, my god !" The woman 

was in a frenzy of hysteria. "But she had 
both arms when she left here. My God !" 

Margot swung fiercely about to the girl. 
"Tell us what it all means," she ordered. 

"I shall never tell anything !" Stella 
Ball spat back. 

"We'll make you talk quick enough," 
the policeman growled. 

"I haven't committed a crime. You 
cant do anything to me." 

"I arrest you for unlawful entry, with 
intent to commit a burglary. That'll do 
for the present," said Quinlan. 

Her lips clamped stubbornly ; the girl 
thereafter was dumb. 

(To be continued) 



WHAT HAPPENED 
BEFORE 

A/f ARGOT AXSTRUTHER, a 
screen star, occupies one room 
in an old house in Xezv York's 
"roaring forties," a house that, jok- 
ingly, is called haunted. She gives 
a party in celebration of a nczv role. 
Among those present are two men in 
love with her, Fred Stoncr, her direc- 
tor, and Eugene Valery, a young 
cameraman. Laughingly, she tells 
them of tzc'o people zvho have mys- 
teriously disappeared from this 
house, Stella Ball, a girl zcho zvorked 
part time at Macy's store, and an 
old man named Murchison. Both 
had disappeared the same day. After 
all have gone home, Margot, in bed, 
smokes one more cigarct. Half 
asleep, she drops the lighted match 
on the floor, then turns quickly to 
put it out. As she does so, she sees 
a small hand, followed by an arm. 
reach out from under her bed and 
blot out the flaming match. Margot. 
lying terrified in the dark, picks ttp 
the 'phone by her bed and calls 
Valery. Speaking in French for 
safety, she explains there is someone 
under her bed. "Come at once!" 
Together they search the room — 
nothing! They call the police — still 
nothing! All think Margot must be 
crazy. All go except one burly cop 
7i7io agrees to stand guard in the 
room. Ten minutes later he rushes 
out screaming, "The hand! the 
hand! I sazi' the hand under the 
bed!" 

-Vote go on with the story. 



H 



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Advertising Section 




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^MOTION PICTURR 

1(101 1 MAGAZINE Y) 



Pauline Frederick, Laura La Plante, 
and Malcolm McGregor in Smol- 
dering Fires 

Critical Paragraphs 

(Continued from page 82) 

from an epidemic after they have humili- 
ated him. And his triumph is complete. 
The picture is told forcefully and with 
true camera technique. 

The Beloved Brute 

Possessing a good share of fine points 
is Blackton's The Beloved Brute. The 
story is told with much physical action 
and swings along in colorful style. Victor 
McLaglen, a newcomer from England, 
plays the title role with fine grasp upon 
the characterization. The picture is fur- 
ther strengthened by the good work of 
Marguerite de la Motte as the girl in the 
case. 

The Mad Whirl 

Jazz stories are becoming standardized. 
The popular formula is to show a laxity 
of conduct on the part of the jazzers for 
about four reels, after which a moral is 
tacked on to serve as an object lesson. 
Bringing in the Deity may serve as a 
lesson in redemption, but long before there 
is any thought of religion on the part of 
the sinners their stomachs have rebelled — 
especially with the kind of stuff that is 
doled out nowadays. Some day a new 
note will be struck. A jazz story will be 
written which will show the breaking 
down of a drinking man's (or drinking 
woman's) constitution. 

This picture serves up the familiar high 
jinks with wild parties being expressed to 
the point of tedium. The giddy parents 
of the young jazzers try to keep up the 
pace. And all eventually reform. There 
is very little plot here. So the action is 
padded with repetitious scenes. It is just 
another motion picture. 

Born Rich 

omestic misunderstandings in high 
society are revealed here in a smart, 
sophisticated manner. The director, waiv- 
ing the conventions, has succeeded in show- 
ing a fairly true exposition of life among 
the idle rich. The triangle is the casus 
belli — with the conflict established thru 
a husband and wife at odds because of 
her belief that he has registered infidelity 
during her absence in Europe. She would 
play his game and fails miserably. 

The solution is familiar. The husband 
resorts to cave-man tactics and becomes 
reconciled to his spouse. 

Smoldering Fire 3 

■pjERE is a picture which tells a lifelike 
story and tells it well. It gets right 
down to the core of human understanding 
and what transpires can easily be accepted 
as truth. The director, Clarence Brown, 
has shown himself adept at establishing 

(Continued on page 127) 



D 




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When you write to advertisers please mention MOTION PICTTJP.E MAGAZINE. 



Address 

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City • 

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m r\ 

121 P 

PAGli 



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7INF L. 



Advertising Section 



GOOD-BYE 





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LOST 43 POUNDS IN 7 WEEKS 

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Vera Reynolds, the little 
The Golden Bed 



star of 



What the Stars Are Doing 

{Continued from page 119) 

Mix, Tom — playing in Riders of the Purple Sage, 
a picturesque romance of Utah — W. F. 

Moore, Colleen — will appear in Sully, an adapta- 
tion of Ziegfefd's successful musical comedy for 
F. X. 

Moore, Matt — playing in The Summons — M. G. 

Moore, Owen — playing in The Parasitt — B. P. S. 

Moore, Tom — lias just signed a contract to play 
the leading role in Thin Ice — W. B. 

Moreno, Antonio — has recently sailed for Paris 
to appear in Rex Ingram's next production, Mare 
Nostrum — M. G. 

Mulhall, Jack — plaving in The Three Keys — ■ 
B. P. 

Murphy, Edna — playing in Lena Rivers — W. B. 

Murray, Mae — will dance her way as Sonia in 
The Merry Widcm — M. G. 

Myers, Carmel — playing Iras tnBen Hur — M. G. 

Myers, Harry — is cast as Texas in Zander the 
Great— C. P. 

Myers, Kathleen — has recently completed work 
opposite Tom Mix in Dick Turpin — \V. F. 

N 

Na'gel, Conrad — playing in Cheaper to Marry — ■ 
M. G. 

Naldi, Nita — will have an important role in Valen- 
tino's Cobra — R. C. 

Nazimova — has been chosen for the leading part 
in My Son — F. N. 

Negri, Pola — finds herself with a new director, 
Raoul Walsh, and a new characterization, that of a 
half-caste Chinese girl, in East of Sues — F. P. L. 

Nilsson, Anna Q. — appears as the "blonde vam- 
pire" in One Way Street — F. N. 

Nixon, Marion — playing Bess Erne in Riders of 
the Purple Sage—W. F. 

Novak, Eva — playing Rosie in Sally — F. N. 

Novak, Jane — latest release Cheap Kisses. Dis- 
engaged at present — F. B. O. 

Novarro, Ramon — is in Italy where he is creating 
the title role in Ben Hur — M. G. 

o 

O'Brien, Eugene — playing in The Siege for U. 

O'Brien, George — playing Tony in The Dancers 
— -W. F. 

O'Hara, George — and Alberta Vaughn are plan- 
ning to make another series of two-reel pictures simi- 
lar to iheGo-Getter Series. The tentative title for this 
series is Alex, the Great — F. B. O. 

Olmstead, Gertrude — is being considered for the 
leading feminine role opposite Rudolph Valentino in 
Cobra— R. C. 

O'Malley, Pat — will have the leading role in J. 
Stuart Blackton's next picture. The Garden of Charily 
— V. 

Owen, Seena — is playing in The Hunted Woman 
— W. F. This is her first picture to be filmed in Holly- 
wood for over two years. 



Pearson, Virginia — has been added to the cast of 
The Phantom of the Opera — U. 

Peters, House — playing in Head Winds — U. 

Philbin, Mary — will play Marguerite in The 
Phantom of the Opera — U. This is to be an elaborate 
production to be directed by Wallace Worsley, who 
also directed The Hunchback of Noire Dame. 





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Phillips, Eddie — just started work in Speed — 
B. P. 

Pickford, Jack — has been cast as the Portuguese 
fisher boy in My Son — F. N. 

Pickford, Mary — disengaged at present. Latest 
release Dorothy \'ernon of Haddon Hall — V . A. 

Pitts, Zazu — will appear as Judy, an uneducated 
mountain girl, who is crippled in childhood, in The 
Re-creation of Brian Kent — P. P. 

Prevost, Marie — playing the gay outrageous 
Julie in Recompense — W. B. 

Pringle, Aileen — is coming East to play opposite 
Adolphe Alenjou in A Kiss in the Dark — F. P. L. 

R 

Ralston, Esther — added to the cast of The Goose 
Hangs High—V. P. L. 

Rankin, Arthur — added to the east of Richard 
Talmadge's Fearless Lover — F. B. O. 

Rawlinson, Herbert — recently completed The 
Adventurous Sex — H. E. 

Ray, Charles — recently completed work in Percy, 
formerly titled The Desert Fiddler — T. H. I. 

Reid, Mrs. Wallace — playing in Broken Laws, 
written for her especially by Adele Rogers St. John 
— F. B. O. 

Rennie, James — finds time to appear in a picture 
every now and then. He is playing in Argentine Love 
— F. P. L. in the daytime and delighting the theater- 
goers evenings in The Best People. 

Reynolds, Vera — recently completed work in 
Cecil De Mille's The Golden Bed—F. P. L. 

Rich, Irene — playing in A Lost Ladv — YV is. 

Rich, Lillian — is Cecil De Mille's latest choice for 
an important role in The Golden Bed — F. P. L. 

Ricksen, Lucille — playing in The Square Peg — 
M. G. 

Rin-Tin-Tin — will be starred in Trapped in the 
Snow Country — W. B. 

Roberts, Edith— playing in Thin le, — \Y. B. 

Roberts, Theodore — recently completed work in 
Locked Doors— V. P. L. 

Roscoe, Alan — playing in Girl of Gold — R. I'. 

Rubens, Alma — will find her early career valu- 
able in The Dancer — W. F. 

Russell, William — playing in Thin lr, — W. B. 



Santschi, Thomas — playing in Frivolous Sal — 

Semon, Larry — playing in The Wizard of Oz — and 
he'll be a great Wizard — C. P. 

Shearer, Norma — will have the leading role in 
Monte Bells next picture for M. G. 

Short, Gertrude — playing in Code of the II — 
F. P. L. 

Sills, Milton — playing in Interpreter's Il<'" 
story of New Yorl F. X. 

Stanley, Forrest — recently completed work in 
Cf the Ladder— V . 

Starke, Pauline — will have the feminine lead in 
The Devil's Cargo- I-. I'. 1.. 

Stedman, Myrtle — will have the part of Mrs. Ten 
Brock in Salli — 1- . X. 

Stewart, Anita — and company have just relumed 
from Tahiti where they have filmed some of the 
scenes of Ne'er the Twain Shall Meet — C. I'. 

Stone, Lewis — will again be seen opposite Uice 
Terry in King^ in Exile. This is [he tirsi I iiin' : 
appeared wiili Miss Terry since Scaramout he — M. G. 

Swanson, Gloria— has almost completed her 
work in Madame Sans Gent — F. P. L. Her next pic- 
ture will be The Coast ofFolly. Allan Dwan, who will 
direct the picture, has already sailed for France. 
where the exteriors will be filmed. 

Sweet, Blanche — playing in World Without End— 
M. G. M. 



Talmadge, Constance — has recently started 
work in The Man She Bought — F. X. 

Talmadge, Norma — and her husband are vaca- 
tioning in Europe. Her latest release is The Ladv — 
F. X. 

Talmadge, Richard — playing in Youth and Ad- 
ventari — F. B. O. 

Taylor, Estelle — playing in Playthings of Desire 
—J- P. 

Tearle, Conway — has just started work in Scho i 
for Wives— -V. 

Tellegen, Lou — playing in Parisian Kighl — 
F. B. O. 

Terry, Alice — playing in Kings in Exile — M. G. 

Theby, Rosemary — added to the cast of The Re- 
creation of Brian Ken! — P. P. 

Thurman, Mary — playing in The Fast Pace — 
\V. B. 

Torrence, David — playing in A Husband's Secret 
— F. X. 

Torrence, Ernest — playing Captain Hook in 
Peter Pan— F. P. L. 



Valentino, Rudolph — has decided to produce 
Cobra, instead of 'The Scarlet Power, as previously an- 
nounced. Incidentally, his internationally known 
beard will not be lost to the fans entirely as he will 
appear wearing it in a few scenes, as he impersonates 
one of his ancestors. 

Valli, Virginia — playing in The Siege — U. 

Varconi, Victor — playing in The Golden Bed — 
F. P. L. 




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(Continued on page 126) 

When you write to advertisers please mention MOTION PICTURE MAGAZINE. 



QMOT10N PICTURF 
1)01 I MAGAZINE C 



Advertising Section 




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It is only when the villain crashes thru 

the door that the hero unclinches himself 

from the heroine 

That's Out 

{Continued from page 58) 

Thespians Getting Even With the 
Producers 

'The actor boom is on again in Holly- 
wood. Even inferior hamfats are hold- 
ing out for large salaries. And the pro- 
ducers are letting squawks out of them 
and wringing their hands in anguish. It 
was all right for the producers to cut 
salaries and close down the studios, but it 
is unfair for the actors to try to make up 
for this lost time. 

Apparently, the producers do not enjoy 
taking- a dose of their own medicine. 



Those Fearless Movie Heroes 

Qne of our pet situations on the screen is 
the one where the hero stands calmly 
loving the heroine while the villain and 
his gang are ferociously breaking down 
the door. Not a fear nor a thought in his 
head but for his sweetheart. And it is only 
when the villain crashes thru the door 
into the room that the hero unclinches 
himself from the heroine and struts ma- 
jestically over to the window and climbs 
thru to safety. 

That, boys, is what must be known as 
true love. 

[ McDonald Rings the Bell Again 

•"P' hat clever and ingenious young pro- 
-ducer, J. K. McDonald, who has already 
presented the screen with three distinct 
novelties such as Penrod and Sam, Boy of 
Mine and A Self-Made Failure, now comes 
to the front with another unique film en- 
titled Frivolous Sal. In this, McDonald 
has obviously tried to concoct a film to 
suit the public palate, and, if we are any 
judge, he has made a huge success of it. 



Most Constructive Act of the Month 

X/T C. Levee, of the United Studios 
in Hollywood, announces that he 
has built the largest incinerator in the film 
business, sixty-two feet high, sixteen feet 
in diameter and with a capacity of five 
thousand cubic feet a day. All this for 
the burning of rubbish. 

Now that's a good idea. We hope Mr. 
Levee places this at the disposal of Holly- 
wood producers — for the consuming of 



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Brewster Publications, Inc. 

175 Duffield St., Brooklyn, N. Y. 

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Advertising Section 

many of the films we have seen in the 
past few months. In fact, Mr. Levee, 
himself, might make good use of it. 



N< 



Another Covered Wagon 

'ORTH OF 36, one of the heralded 
big Paramount pictures of the year, 
was previewed in Hollywood this month. 
Apparently, it will be a popular success, 
but the writer can find little in it to en- 
thuse over, with the exception of a few 
humorous moments and a cattle stampede 
that is rather thrilling. 

If this is a "big" picture, then a great 
future is assured the silent drama, for 
films of this sort can be turned out in 
car-load lots, provided the producer has 
a large enough bank roll. The picture 
public has a queer taste, and the writer 
heard several persons exclaim after the 
preview that the production was "better 
than The Covered Wagon." It will be re- 
called that the picture public also thought 
The Hunchback of Notre Dame was a 
good picture. 



Two High Spots of the Month 

T aura La Planters acting in the Uni- 
versal production, Smoldering Fires, 
in addition to the fine work of Pauline 
Frederick, shows her to be a young 
actress of great promise. Let's hope Uni- 
versal does more with her than they are 
doing with Mary Philbin. 

Kenneth Harlan's acting in the Schul- 
berg production, White Man. This will 
once more embarrass the critics who for- 
merly claimed that Kenneth was a nice- 
looking boy who wouldn't act. That is, 
until they saw him in The Virginian. In 
White Man he has another strong role and 
makes the most of it. 



Twenty-eight Press-Agents Face 
Starvation! 

Mow that Chaplin is married, twenty-eight 
press-agents will be thrown out of jobs 
for the lack of someone to have their fair 
clients engaged to, and hundreds of news- 
papers thruout the country will have sev- 
eral blank columns of space thrown upon 
their hands. Their only hope now is 
Barbara La Marr. 



Some Things We'd Like to See on 
the Screen 

A comedy without a Ford in it. 
* A society drama without a Rolls Royce 
in it. 
A scenic without a sunset in it. 
A news weekly without a funeral in it. 
A melodrama without a fight in it. 
A war picture without a spy in it. 
A mother picture without a mortgage in it. 
A Tom Mix picture without a horse in it. 



Next Month 

NEW TOYS 

Starring the Barthelmess Family 

Richard Barthelmess 

Mary Hay 

Told in Story Form 

by 

Dorothy Donnell Calhoun 

Read it in April 

Motion Picture 

fMAGAZINEB 



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MOTION PICTURE 



01 I MAGAZINE 

Let Me Tell You 

How I Got Rid of 

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Advertising Section 

What the Fans Write to 
the Stars 

(Continued j'roin page 114) 



tlu 



a chance in 



screen stars. Gh 
life! 

Dont — if you happen to be in jail 
for forgery — expect some fill" flapper 
to petition to get you out. 

Dont zvrite gusliy letters, love 
letters, begging letters, slam letters, 
hard luck letters — dont write any let- 
ters, if you can help it! If you cant 
help it. they will probably be worth 
reading. 

I am not trying to get a job as post- 
man for some impoverished member of 
the family by increasing the bulk of 
Hollywood fan mail when I repeat that if 
you must write fan letters, they stand 
more chance of being read by the stars 
themselves if they concern the kind of 
picture you want them to play in, and if 
they give constructive criticisms and com- 
ments on their work. These are the ones 
their secretaries are instructed to turn 
over to them from the tons of mail that 
they receive. 



What the Stars Are Doing 

(Continued from page 123) 

Vaughn, Alberta — starting on a new series, Alex, 
the Great, for F. B. O. 

Vidor, Florence — portraying a spoiled daughter 
of a rich broker in The Girl of Gold — R. P. 

Von Eltz, Theodore — playing in Thin Ice — W. B. 

w 

Walker, Johnny — playing in The Mad Dancer — 

J..P- 

Walthall, Henry B. — playing the gav young 
blade in The Golden Bed—F. P. L. 

Washburn, Bryant — has been added to the cast 
of The Parasite— H. P. S. 

Welch, Niles — playing in The Fast Pace. 

Williams, Earle — playing in Lena Rivers — W. B. 
."Williams, Kathlyn — upon completing work in 
William de Mille's Locked Doors. F. P. L. , she will 
leave for a four months' trip to the Orient. 

Wilson, Lois — playing in The Thundering Herd — 
F. P. L. 

Windsor, Claire — recently completed work in 
The Square Peg — M. G. 

Wong, Anna May — playing in Peter Pan — 
F. P. L. 

Worthing, Helen Lee — playing Wanda von 
Gluck in The Swan—F. P. L. 



Key to Abbreviations 

A. A. — Associated Arts. 

A. C. — Al Christie Productions. 

A. E. — Associated Exhibitors. 

A. P. — Allied Productions. 
B. — Banner Productions. 

B. F. S.- — B. F. Schulberg Productions. 

C. C. B— C. C. Burr. 

C. P. — Cosmopolitan Productions. 

D. W. G — D. W. Griffith. 

E. S. — Ernest Shipman. 

F. P. L. — Famous Players-Lasky. 
F. B. O.— Film Booking Offices.' 
F. X. — First National. 

H. P. — Halperin Productions. 
H. S. — Hunt Stromberg. 
I. P. — Inspiration Pictures. 
M. G. M— Metro-Goldwyn-Mayer. 
P. P. — Principal Pictures. 
P. D. C. — Producers Distributing Cor- 
poration. 
R. P. — Regal Productions. 
T. H. I.— Thomas H. Ince. 
U. — Universal. 
V. — Vita graph. 
W. B. — Warner Brothers. 
W. B. — Whitman Bennett. 
W. F.— William Fox. 




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Mary Astor and Reginald Denny in 
Oh. Doctor 



Critical Paragraphs 

{Continued from page 121) 

with utter simplicity and economy of effort 
a story of a mismated couple — of a youth 
married to a woman far beyond hL» years. 
He finely suggests her tragic loneliness — 
her feminine wish to retain her girlhood. 
It is fortunate that he had an actress of 
Pauline Frederick's sympathy and under- 
standing to play the role. 

Oh, Doctor! 

All the fine play of a sparkling, effer- 
vescent comedy is expressed' in this film 
version of Harry Leon Wilson's story. 

From the moment that Reginald Denny 
appears as the "hypo" suffering from an 
imaginary illness — and taking to his bed 
as a confirmed invalid — there isn't a dull 
scene. The star plays the part in the 
manner of a grown-up Fauntleroy. The 
"invalid" develops courage after becoming 
interested in a pretty nurse. To win her 
respect he becomes a reckless daredevil. 
There is a plot to it — and the incident is 
bright and abundant. A sure treat. 



Norma Poses for Her Portrait 

(Continued from page 88) 

give still greater beauty and charm. 

Just that morning, she told me, Morris 
Gest had asked her to play the role of the 
Madonna in The Miracle when he pro- 
duces it again. 

"How I should love to do it," she ex- 
claimed, "even for a few days ! But, 
alas ! I am always far too busy. Besides 
I could never stand rigid for forty-five 
minutes on any stage, I fear." 

But our time had flashed past ; we had 
forgotten it was Monday morning. A sec- 
retary appeared at the door, carrying a 
book of appointments. There was one 
with a Fifth Avenue modiste; an interview 
with a national magazine ; there were main- 
calls to make ; then tea, and the theater in 
the evening. 

A maid came, bringing her street 
clothes — and just at this point Mr. Schenck 
rushed in. My studio was thrown into 
confusion. 

"Strange how my husband should find 
business in New York during the week of 
the World's Series games," smiled Xorma. 

During all this confusion she remained 
perfectly poised and calm. It was only 
the others who were excited. Then with 
a charming smile and a friendly "Good- 
bye," she was off for her next engagement. 

So passed two hours of a busy day in the 
life of a truly great artiste, Norma Tal- 
madge. 



Advertising Section 



Watch Harold Lloyd, the- famous 
Pathe star, in his great picture, 
"Hot Water," Hcnv "crazy" he 
seems! Far from ii! In private 
life and in his preparation for 
his successes he is one of lite best 
read young men in America. 



.....OTION PICTU, 

m I MAGAZINE 




What makes 
HAROLD LLOYD stand out 

from the crowd? 




Jusl a few of the 

arii>ts who own Dr. 
Eliot's Five - Foot 
Shelf of Books: 

June Mathis 
Claire Windsor 
Wanda Hawley 
Harold Lloyd 
"Hoot" Gibson 
May McAvoy 
Henry B. Walthal 
Conrad Nagel 
Rudolph Valentino 
Constance Talmadge 
Helen Ferguson 
Richard Dix 
Mary Miles Minter 
Ralph Graves 
Claire West 
Johnny Walker 
Clara Kimball Young 
William Desmond 
Myrtle Stedman 
W. F. Russell 




Harold Lloyd in one of his big, wholesome, side- 
splitting comedies, and you will say: 

" Thousands of young men had as good a chance as he had. 
How has he become America's favorite? What is his 

:t?" 
1 ou will find the answer when you know what Harold 
Lloyd does in bis spare time. Visit him and look at the 
books he reads. 

In his private library, for one thing, is Dr. Eliot's Five- 
Foot Shelf of Books '(.The Harvard Classics;. 
Books of this kind, wisely selected, have made Lloyd's 
mind as agile as his body. 

Take stars like Rudolph Valentino, Constance Tal- 
madge, May McAvoy, Clara Kimball Young. Was it by 
accident that they reached the heights they now occupy? 
What makes them stand out from the crowd? 
Tile secret is this — they have spent their spare time in 
making themselves interesting people. In their libraries, 
too. you will find Dr. Eliot's Five-Foot Shelf of Books. 
And they are only a few of the screen favorites who have 
discovered this great secret of personality'. Glance 
through the names at the left. 

Why not decide today to profit from your reading hours? 
Why not say: "From now on, 1 will give my mind a 
fair chance to grow. I will read only the books that will 
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DR. ELIOT'S 
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the most famous collection of literature in the world. 

Let us send you a complimentary copy of this booklet, that tells how 

Dr. Eliot has put into his Five-Foot Shelf (The Harvard Classics) 

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even fifteen minutes a day are enough to give you the knowledge of 

literature and of life, the culture and the thinking capacity which are 

the tools of success in life. 

"For me," wrote one man who had sent in the coupon, "your little 

free book meant a big step forward, and it showed me besides the way 

to a vast new world of pleasure." 

It is a valuable book, but it will cost you nothing. Send for it today. 




P. F. Collier & Son Company, 

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By mail, free, send me the little guidebook I 

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ing Dr. Eliot's Five-Foot Shelf of Books (The I 

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Mrs. 

Miss 



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When you write to advertisers please mention MOTION PICTFKE MAGAZINE. 



127 

pa a 



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GIWTION , J ICTURr 
M I MAGAZINE I- 




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0128 



Advertising Section 
On the Camera Coast 

(Continued from page 117) 

to direct the screen version of her novel, 
Man and Maid. 

George Ade has arrived in Hollywood 
to help Tommy Meighan make a picture 
from one of the Ade stories. A Los 
Angeles reporter interviewing Mr. Ade, 
asked him about his famous farm in In- 
diana. "That farm," he replied, "isn't 
a place that I keep to go to : I only keep 
that to refer to." 

Sonia Petrova, reared in the Russian 
nobility, has come to Hollywood to be a 
screen actress. 

Tf it still means anything to an excited 

world, here's why Rudolph Valentino's 
beard has disappeared. He is to make 
Cobra at the United Studios with a cast 
not, at this writing, announced. Valentino 
has quite charmed his friends with his 
modesty and simplicity since his return. 
He has settled down in a home in Beverley 
Hills and is saving a great deal of money. 
Rudolph will soon be independently rich. 
He has a business manager who allows 
him just two hundred and fifty dollars a 
week to spend, and invests the balance. If 
Ruddy splurges over the two hundred and 
fifty dollars in one week, the ruthless 
manager takes it out of the next week's 
instalment. 

The lure of diplomacy has been too 
strong for Agnes Ayres. She has can- 
celed her Lasky movie contract and has 
gone to Mexico with her husband, Seiior 
S. Manuel Reachi, who is in the diplomatic 
service of Mexico. Later, it is possible 
that Miss Ayres may return and make 
a series of pictures in San Francisco. 

Mildred Harris, the first Mrs. Charlie 
Chaplfn, is to play the lead in a "Western" 
with Harry Carey. 

It is doubtful if Will Rogers ever re- 
turns to films, according to the statements 
of the producers. Rogers is rich and he 
doesn't care as much for the films as for 
the sta